{"id":4351,"date":"2026-06-19T10:07:14","date_gmt":"2026-06-19T14:07:14","guid":{"rendered":"https:\/\/www.icsom.org\/senzasordino\/?p=4351"},"modified":"2026-06-19T10:07:45","modified_gmt":"2026-06-19T14:07:45","slug":"the-state-of-icsom-2","status":"publish","type":"post","link":"https:\/\/www.icsom.org\/senzasordino\/2026\/06\/the-state-of-icsom-2\/","title":{"rendered":"The State of ICSOM 2026"},"content":{"rendered":"

Prior to each AFM Convention, the Governing Board asks each delegate of our member orchestras to give a sense of what their orchestras have faced in the last few years as well as the challenges they face going forward. Responses were collected between March and May and represent a snapshot of the conditions in our field during the last three years. Note that charter members of ICSOM are denoted with an asterisk (*).<\/em><\/p>\n

Alabama Symphony Orchestra<\/h4>\n
Founded: 1997
\nJoined ICSOM: 1998 (the predecessor Birmingham Symphony was a member of ICSOM 1975\u20131995)
\nAFM Local: 256-733
\nDelegate: Brad Whitfeld<\/h5>\n

The Alabama Symphony Orchestra continues to present high-level performances, despite the many challenges all of our orchestras face in this tumultuous political landscape. The musicians are in year two of a three-year contract that will need to be re-negotiated beginning in the 2026\u201327 performance season. The current contract addressed many concerns from the musicians, specifically regaining wages lost after the pandemic. However, given the rising cost of everything, these concerns are omnipresent.<\/p>\n

The ASO has continued a successful endowment campaign, which has yielded the highest amount to date of endowment funds, and some recent, unexpected gifts have provided some relative financial stability. It is the hope of the musicians that a turning point is on the horizon for the organization to transform our narrative from continually treading water to sustainable growth.<\/p>\n

Atlanta Symphony Orchestra<\/h4>\n

Founded: 1945
\nJoined ICSOM: 1971
\nAFM Local: 148-462
\nDelegate: Karl Fenner<\/h5>\n

The Atlanta Symphony Orchestra is finishing its fourth season with Music Director Nathalie Stutzmann, who was recently renewed for three more seasons. Reviews have remained excellent, audiences have continued to average around 90% of capacity, and the orchestra is headed for a twelfth straight year of budget surplus. In the fall of 2025 the musicians began a three-year contract that will bring the base salary to $115,000 in the third year. There are significant improvements to working conditions, an overhauling of audition and tenure language, and the addition of two string positions to the complement.<\/p>\n

*Baltimore Symphony Orchestra<\/h4>\n

Founded: 1916
\nJoined ICSOM: 1962
\nAFM Local: 40-543
\nDelegate: Lisa Steltenpohl<\/h5>\n

This past September, the Baltimore Symphony Orchestra ratified a progressive three-year agreement with our management and overhauled our audition process. We are currently in the midst of a capital campaign and recently announced a three-year extension for Music Director Jonathon Heyward. Additionally, our audiences have grown, particularly at Strathmore, our second location in North Bethesda, Maryland.<\/p>\n

*Boston Symphony Orchestra<\/h4>\n

Founded: 1881
\nJoined ICSOM: 1962
\nAFM Local: 9-535
\nDelegate: Carl Anderson (update by Kathryn Sievers)<\/h5>\n

The Boston Symphony Orchestra is currently in contract negotiations with management. This is happening amid a backdrop of turmoil since the announcement on March 6 that the Board of Trustees had terminated BSO Music Director Andris Nelsons\u2019s \u201cevergreen\u201d contract. Shortly prior to this controversial announcement, three other artistic leadership vacancies arose: vice president of artistic planning, director of artistic planning for the Boston Pops, and conductor of the Tanglewood Festival Chorus. The post of principal guest conductor also remains unfilled after many years. Of six artistic leadership positions, only conductor of Pops remains filled. Negotiations center around proposals prioritizing the musicians\u2019 stake in artistic decision-making.<\/p>\n

*Buffalo Philharmonic Orchestra<\/h4>\n

Founded: 1934
\nJoined ICSOM: 1963
\nAFM Local: 92
\nDelegate: Jonathan Borden<\/h5>\n

The Buffalo Philharmonic Orchestra will be undergoing some changes over the next few years. Executive Director Daniel Hart recently announced his retirement after over 20 years in the job, and the search process will begin shortly for his replacement. Musicians are currently working on ensuring representation in that process. Hart\u2019s successor will begin with negotiating a new contract under challenging financial conditions. Revenues have not kept up with expenses in the aftermath of the pandemic. Surpluses from COVID-era government loans have been spent. Subscription revenues are at levels similar to pre-pandemic years, but health insurance premiums have driven significant expense inflation and will surely be a flash point in the upcoming negotiations.<\/p>\n

The musicians of the BPO have also undergone some internal organizational updates, including updating the players association bylaws for the first time in nearly 30 years.<\/p>\n

Charlotte Symphony Orchestra<\/h4>\n

Founded: 1932
\nJoined ICSOM: 1999
\nAFM Local: 342
\nDelegate: Thomas Burge<\/h5>\n

The Charlotte Symphony Orchestra is currently completing our second season with new Music Director Maestro Kwam\u00e9 Ryan. The audience and musicians are enjoying the perspective he brings to the podium and the undeniable energy in our performances. News of Ryan\u2019s recent Grammy for Best Opera Recording has flooded the press and concert halls and has been warmly received by the public. The artistic trajectory, particularly of our Classical Series, is also moving in a very positive direction.<\/p>\n

Under the guidance of CSO President and CEO David Fisk, along with numerous city leaders, we recently completed a three-year Comprehensive Campaign, the largest fundraising event in the orchestra\u2019s 93-year history. The campaign surpassed its $50 million goal and will secure new endowment funds and operating support.<\/p>\n

The next two years are crucial, while pledged funds continue to be realised, and will be key to strengthening the future of the Charlotte Symphony Orchestra.<\/p>\n

Chicago Lyric Opera Orchestra<\/h4>\n

Founded: 1954
\nJoined ICSOM: 1969
\nAFM Local: 10-208
\nDelegate: Amy Hess<\/h5>\n

Over the past several years, the Chicago Lyric Opera Orchestra has been encouraged by growth in programming coming out of the pandemic. With new General Director John Mangum at the helm, the company has not only increased opera performances but has also branched out more into movies, concerts, and collaborations\u2014including with Chicago\u2019s own (and new Lyric board member) Billy Corgan of the Smashing Pumpkins. The orchestra still has a ways to go, however, to grow our ranks back to pre-pandemic levels, and will continue to advocate for grand opera’s place in Chicago\u2019s artistic landscape and beyond.<\/p>\n

*Chicago Symphony Orchestra<\/h4>\n

Founded: 1891
\nJoined ICSOM: 1962
\nAFM Local: 10-208
\nDelegate: Miles Maner<\/h5>\n

The Chicago Symphony Orchestra is thundering forward with all eyes fixed on the fall of 2027, when Klaus M\u00e4kel\u00e4 begins his official tenure as music director. As designate, M\u00e4kel\u00e4 has already steered the orchestra in a fresh direction with eclectic programming, signaled a motivated interest in recording, and led the orchestra on a successful tour of the East Coast this past February. Musicians are generally optimistic about this leadership transition and hope the powerful collaboration between the orchestra and M\u00e4kel\u00e4 will drive strong attendance in the seasons ahead.<\/p>\n

A recent season highlight was the invitation to play Mahler\u2019s Sixth and Seventh Symphonies at the Mahler Festival in Amsterdam in the spring of 2025. The CSO Association worked with the Musicians Committee and Jaap van Zweden to build a two-week European tour around the Netherlands concerts.<\/p>\n

Financially, the CSO Association recently surpassed its \u201cSempre Always\u201d fundraising goal originally set in 2018. Aimed at increasing the endowment and reducing the significant debt from the Symphony Center renovation 30 years ago, the original $175 million goal was exceeded this past December when, with just $10 million dollars left to raise, Helen Zell of the Zell Family Foundation donated $50 million.<\/p>\n

Looking forward, negotiations will soon be underway as our current contract expires this September. The working relationship between board, management, and the Musicians Committee remains strong. Following mid-season talks that secured a mutual plan to shelve negotiations regarding health care, the committee is cautiously optimistic that this round of bargaining will be relatively smooth. No doubt, end-of-season budget deficits for the past three seasons and a need to address deferred maintenance of Symphony Center will be on management\u2019s mind as the musicians push to secure growth in the contract.<\/p>\n

*Cincinnati Symphony Orchestra<\/h4>\n

Founded: 1895
\nJoined ICSOM: 1962
\nAFM Local: 1
\nDelegate: Dwight Parry<\/h5>\n

Our orchestra is on an upward trajectory with the hiring of a new music director, the signing of a progressive, five-year contract, and the restoration of our full complement of musicians. We maintain our focus of relevance and community service while expanding our reach through broadcasts, recordings, and a planned tour. That tour will be the first since our canceled European venture in 2020 and marks a commitment to return to regular international touring.<\/p>\n

On a personal note, the Cincinnati Symphony is an exceptional place to work. A culture of collaborative excellence combined with key new hires has engendered an environment with the right blend of motivated edge and comfortable security in which one can take risks and pursue artistic heights as a team.<\/p>\n

*The Cleveland Orchestra<\/h4>\n

Founded: 1918
\nJoined ICSOM: 1962
\nAFM Local: 4
\nDelegate: Yun-Ting Lee<\/h5>\n

The Cleveland Orchestra has balanced the budget for another year, but our contract is set to expire in fall of 2026, and we expect to start negotiations soon. 2026\u201327 is also the last year with our music director, Franz Welser-M\u00f6st. We will have our last major European tour with him in October 2026. A music director search is ongoing and we continue to evaluate many candidates.<\/p>\n

The Miami Residency is also continuing, with possible expansion and more community engagement in the city, such as working with New World Symphony and Bethune-Cookman University. We have filled some important vacancies since the last update, but we will need to find a music director before hiring more musicians.<\/p>\n

Colorado Symphony Orchestra<\/h4>\n

Founded: 1989
\nJoined ICSOM: 1968 (joined as the Denver Symphony, then re-formed as the CSO after bankruptcy proceedings in 1989)
\nAFM Local: 20-623
\nDelegate: Jason Shafer<\/h5>\n

The Colorado Symphony is grateful to continue to stand on strong financial and artistic footing. Our negotiations have resulted in CBAs with substantial yearly pay raises and have allowed us to retain excellent working conditions. Artistically, we were thrilled to recently go on tour to New York for the first time in 50 years, performing sold-out shows in Carnegie Hall and Radio City Music Hall. We are also glad to have Peter Oundjian officially announced as our Music Director, with his initial contract extended through the 2028\u201329 season.<\/p>\n

Under the guidance of our new CEO (Daniel Wachter), we are planning major renovations to our main performing space, Boettcher Concert Hall. These renovations are badly needed and are expected to occur within five years. The work will address major acoustical and structural concerns and also improve the patron experience in various ways.<\/p>\n

The main challenge for us continues to be securing more consistent annual giving and contributions. Our proportion of contributed income vs. ticket sales has always been extremely weighted toward ticket sales.<\/p>\n

Columbus Symphony Orchestra<\/h4>\n

Founded: 1951
\nJoined ICSOM: 1990
\nAFM Local: 103
\nDelegate: Betsy Sturdevant<\/h5>\n

The Columbus Symphony is currently in the process of laying the groundwork for building a new concert hall. Our current hall, the Ohio Theatre, is becoming increasingly unavailable to the orchestra as Broadway shows take precedence. The orchestra has a new CEO and is hiring other top administrative positions. We will celebrate our 75th anniversary in 2026\u201327 which will include a world premiere by Gregory Spears performed in Carnegie Hall. We are also in the first year of a three-year agreement which adds weeks to the season, increasing from 31 to 33.<\/p>\n

Dallas Symphony Orchestra<\/h4>\n

Founded: 1900
\nJoined ICSOM: 1968
\nAFM Local: 72-147
\nDelegate: Matt Good<\/h5>\n

The musicians of the Dallas Symphony Orchestra ratified a new three-year agreement in early March 2024, with changes in almost purely economic terms and including yearly raises between 4% and 4.5% of base scale.<\/p>\n

In May and September through October 2024, the DSO performed a concert version of Wagner\u2019s Ring with a complete run of the complete cycle in October. These performances were recorded and will be available on a physical and digital release on May 22, 2026.<\/p>\n

The DSO had a successful two-week European tour in June 2024 despite many confirmed cases of COVID during the tour. Despite the absences, all the concerts went on as planned. Many of our colleagues heroically stepped up and covered parts for those who had fallen ill on little notice.<\/p>\n

During the past two seasons, the Dallas Symphony Association has been making progress on deficit reduction as well as securing a $25M matching gift for a recent endowment campaign from the O\u2019Donnell Foundation.<\/p>\n

*Detroit Symphony Orchestra<\/h4>\n

Founded: 1887
\nJoined ICSOM: 1962
\nAFM Local: 5
\nDelegate: Scott Strong<\/h5>\n

The past few years have been very eventful for the Detroit Symphony Orchestra. There have been several recording projects, including Wynton Marsalis\u2019s Blues Symphony and Carl Orff\u2019s Carmina Burana. We completed a tour of Florida in spring of 2024, the first with Music Director Jader Bignamini, and we have had 17 new musicians hired since 2022. Audience numbers have grown steadily, but are still under what could be expected. We expect to start negotiating a new contract in the fall of 2026, as our current contract expires at the end of the 2026\u201327 season.<\/p>\n

The Florida Orchestra<\/h4>\n

Founded: 1968
\nJoined ICSOM: 1987
\nAFM Local: 427-721
\nDelegate: Warren Powell<\/h5>\n

In spring 2025, The Florida Orchestra musicians ratified their second consecutive progressive CBA, five months before the predecessor contract expired. The agreement provides for 23% increases over four years. This was the result of an excellent atmosphere of cooperation and desire on the part of the musicians, board, and management to forge positive growth for the future.<\/p>\n

TFO continues to have serious challenges regarding our main venues for rehearsals and performances. There does seem to be renewed effort from the board and management to resolve the problem of a permanent home for the orchestra.<\/p>\n

Recent successes included two sold-out concerts with Cynthia Erivo and a successful gala performance with Audra McDonald.<\/p>\n

Fort Worth Symphony Orchestra<\/h4>\n

Founded: 1957
\nJoined ICSOM: 2001
\nAFM Local: 72-147
\nDelegate: Debbie Brooks<\/h5>\n

The Fort Worth Symphony Orchestra continues its momentum under Music Director Robert Spano, who remains a driving creative force for the orchestra. This season, we have presented more than 120 performance, education, and outreach concerts, reaching an audience of over 100,000 across Fort Worth, both on the stage of the acoustically superb Nancy Lee and Perry R. Bass Performance Hall and out in neighborhoods throughout the city.<\/p>\n

Creative partnerships and our trademark \u201cTheatre of a Concert\u201d remain central to who we are. We collaborate with a remarkable network of local arts and cultural institutions, including the Kimbell Art Museum, the Amon Carter Museum of American Art, the Sid Richardson Museum, the Fort Worth Botanic Garden, Casa Ma\u00f1ana, Bruce Wood Dance, Texas Ballet Theater, Fort Worth Opera, The Cliburn, and PianoTexas. By weaving in multimedia and theatrical elements, we continue to offer audiences multisensory concert experiences that broaden what an orchestral performance can be. Residencies, commissions, and collaborations with living composers round out the season, and our catalog of recordings, including several world-premiere releases, continues to draw international acclaim.<\/p>\n

As we look ahead to next season, we are deeply grateful to our management, board, audiences, and community partners for their continued support, and are proud of the role our musicians play in keeping exceptional musical experiences at the heart of Fort Worth.<\/p>\n

Grand Rapids Symphony<\/h4>\n

Founded: 1930
\nJoined ICSOM: 2013
\nAFM Local: 56
\nDelegate: Mark Buchner (update by Jack Latta)<\/h5>\n

A new 12,000-plus seat amphitheater has opened in downtown Grand Rapids, and the Grand Rapids Symphony will play our first Independence Day concert in many years there this summer. We will play one other concert there this summer and look forward to nurturing our relationship with the venue into the future.<\/p>\n

As the GRS prepares for its 100th anniversary in 2029-2030, we are nearing the end of a search for a new president\/CEO. The 2025\u201326 season started with some surprise financial struggles and the departure of both the president\/CEO and the general manager. CEO Mary Tuuk Kuras, who retired at the end of 2022, returned on an interim basis in order to help stabilize the organization\u2019s finances with cooperation from management, board, foundation, and donors. At the same time we are preparing for negotiations in the coming season and hope to continue our trend of securing salaried contracts for our remaining 25 per-service musicians.<\/p>\n

Grant Park Orchestra<\/h4>\n

Founded: 1944
\nJoined ICSOM: 1977
\nAFM Local: 10-208
\nDelegate: Amy Hess<\/h5>\n

The Grant Park Orchestra is entering its second season with Artistic Director Giancarlo Guerrero. Highlights of recent seasons have included participation in the 20th anniversary celebration concert for the orchestra\u2019s home, Millennium Park, involving appearances by Chicago natives Common and Jennifer Hudson.<\/p>\n

The orchestra looks forward to continuing to provide free outdoor concerts with an impressive lineup of international soloists to hundreds of thousands of audience members every summer in the heart of Chicago in the Frank Gehry\u2013designed Pritzker Pavilion and advocating for classical music amidst the wide variety of summer offerings in the city.<\/p>\n

Hawai\u02bbi Symphony Orchestra<\/h4>\n

Founded: 2011
\nJoined ICSOM: 1967 (as the Honolulu Symphony)
\nAFM Local: 677
\nDelegate: Rebecca Matayoshi<\/h5>\n

The Hawai\u02bbi Symphony is currently in negotiations, with our current contract expiring on August 31, 2026. On July 1, 2024 the orchestra welcomed new Executive Director and President Amy Iwano, and in November 2025, it was publicly announced that Music Director Dane Lam would be extended through June 2031. We are back in our performance space, the Neal S. Blaisdell Concert Hall, but the City of Honolulu recently announced there would be another round of renovations to begin within the next two years, which will again cause us to lose access to our hall.<\/p>\n

With Lam settled in his position, we have finally been able to hold auditions to fill many vacancies we had from before the pandemic. Newly filled positions include Principal Oboe, Associate Principal Oboe, Third Oboe\/English Horn, Principal Trumpet, Principal Harp, Principal Bass, Associate Concertmaster, Section Violin, Section Viola, Section Cello, and Section Horn.<\/p>\n

Houston Symphony<\/h4>\n

Founded: 1930
\nJoined ICSOM: 1965
\nAFM Local: 65-699
\nDelegate: Brian Del Signore<\/h5>\n

The Houston Symphony has completed updates and renovations to its concert hall, Jones Hall. Acoustical improvements are quite audible with a new shell and proscenium. New locker rooms are also planned.<\/p>\n

Music Director Juraj Valcuha has renewed his contract through the 2027\u201328 season. Livestream broadcasts each Saturday night of our classical and pops series continue to be well received, and we have an excellent crew of audio and video technicians creating a high quality product. I encourage everyone to see what we are doing by checking out a livestream or two. The paywall is $20 and each concert remains available to view on YouTube for anywhere from one to five days, depending on rights and permissions. Education and community engagement initiatives continue with a Community Embedded Musicians program including teaching residencies at area public schools and fellowships at Rice University and the University of Houston.<\/p>\n

No tours have been scheduled since the last European tour of 2018. Since the pandemic, a return to touring has not happened and the current economic and political climate makes our board and management conservative in this outlook. In our case, the music director is also instrumental in making it happen, and Valcuha has not pushed for it.<\/p>\n

Other challenges going forward are subscription sales. Single ticket sales are very good, but season ticket subscriptions are not at pre-pandemic levels. The budget remains strong although there was a small deficit this past year. We expect negotiations to start soon, as our CBA is up for renewal at the beginning of October, 2026<\/p>\n

*Indianapolis Symphony Orchestra<\/h4>\n

Founded: 1930
\nJoined ICSOM: 1962
\nAFM Local: 3
\nDelegate: Melissa Deal<\/h5>\n

The Indianapolis Symphony has seen some pivotal changes in the past few years. Artistic Advisor Jun M\u00e4rkl was named Music Director beginning in the 2024\u201325 season and since becoming Artistic Advisor in 2022 has hired 22 musicians. Management has published a strategic plan ahead of 2030\u2014the orchestra\u2019s 100th anniversary\u2014with goals of modernizing facilities, heightening the impact of community engagement, and building our endowment. We have increased our collaboration with local organizations, performing four complete ballets with the Indianapolis Ballet, organizing a free chamber music series at two local universities, and strengthening our presence at Indiana University.<\/p>\n

While we have seen our audiences grow in the past few seasons, we have not reached pre-pandemic attendance numbers. Our Pops series specifically is undergoing some changes as we have welcomed Principal Guest Pops Conductor Enrico Lopez-Ya\u00f1ez in the 2024\u201325 season (Jack Everly remains principal pops conductor) and we are eager to see how Enrico\u2019s programming resonates with our audiences. CEO James Johnson will depart in June 2026, with Jonathan Martin stepping in as interim COO during the transition period. We hope to emerge in a stronger position both to provide for the future of the organization and to serve our community.<\/p>\n

Jacksonville Symphony<\/h4>\n

Founded: 1949
\nJoined ICSOM: 1997
\nAFM Local: 444
\nDelegate: Brian Magnus<\/h5>\n

The Jacksonville Symphony is wrapping up its 76th season and is entering the third year of a four-year contract. Music Director Courtney Lewis, who began his tenure in 2015, has been renewed to 2032. An interesting project is underway for the 2026\u201327 season: the Jacksonville Symphony has commissioned six leading composers to collaboratively compose a score for the silent film, The Flying Ace, which was filmed in Jacksonville in 1926 and features an all-African-American cast. The new score will be premiered by the Jacksonville Symphony with the film in November 2026.<\/p>\n

Kansas City Symphony<\/h4>\n

Founded: 1982
\nJoined ICSOM: 1998 (the predecessor Kansas City Philharmonic was a member of ICSOM 1966\u20131983)
\nAFM Local: 34-627
\nDelegate: TK DeWitt<\/h5>\n

Although the Kansas City Symphony has seen a huge amount of growth in the past decade, the orchestra has struggled with deficits since the pandemic. As a way to solve this, the organization has decided to try to emulate the success of the Cincinnati Symphony Orchestra, Los Angeles Philharmonic, and others who have additional venues beyond their main hall by building a new venue. It will be purpose-built for amplified music, with a much larger capacity than our home in Herzberg Hall (4,600 compared to 1,600). The orchestra will play films with live music as well as some of our larger pops shows, but it will mostly be used to attract touring acts, as there is not a venue of this size in Kansas City.<\/p>\n

The initial reception from the community for this plan has been positive, although there has been significant blowback from some of our major donors\u2014especially regarding the poor rollout of the messaging and overall confusion regarding our status at the Kauffman Center. Planning has begun, but it remains to be seen if we can actually have the venue built on budget and on time, and if it will attract the kinds of acts that will generate the revenue we need.<\/p>\n

Kennedy Center Opera House Orchestra<\/h4>\n

Founded: 1978
\nJoined ICSOM: 1978
\nAFM Local: 161-710
\nDelegate: Peter de Boor (update by Uri Wassertzug)<\/h5>\n

These are by far the most unsettling times ever for members of the Kennedy Center Opera House\/Washington National Opera Orchestra. As you may know, our orchestra is unique in that it is one orchestra with two employers: the Washington National Opera, for whom we perform opera; and the Kennedy Center, for whom we perform ballet, musical theater, and other genres. Combined, these two contracts allow us to earn enough to live in an expensive part of the country and attract high-level colleagues to our auditions.<\/p>\n

A year ago the Kennedy Center abruptly got new leadership, and under this leadership, there has been a boycott of the Center, both by audience members and by guest artists. This has led to financial issues and a lack of programming. All the while, the Center has been shedding its administrative staff. Our orchestra, which had three full-time managers, now has none. The dance programming department staff has been reduced from three to one. Marketing and fund-raising staff has also been slashed.<\/p>\n

In response, the Washington National Opera decided in January to opt for a tenuous future on the road rather than a certain demise at the Kennedy Center. Our next two operas will be performed at Lisner Auditorium (on the campus of George Washington University), and West Side Story will take place both at the Lyric Baltimore and (in a semi-staged version) at Strathmore Music Center in Bethesda, MD. Planning is underway for a 2026\u201327 season at a variety of venues. The Opera has assured us that it will fulfill its union agreements, including our CBA.<\/p>\n

However, 40% of our income still comes from our Kennedy Center work. It was announced in February that the Kennedy Center will shut down in early July for a two-year renovation. Since we have no managers, we have not heard this officially from the Center, but if it is true, we hope and expect our CBA to be upheld and that the Kennedy Center will find suitable venues for us to perform, in keeping with the Cultural Center Act that established the Kennedy Center.<\/p>\n

We remain vigilant in defending our jobs and standing in solidarity with our colleagues at the National Symphony, who navigate this same uncharted territory.<\/p>\n

*Los Angeles Philharmonic<\/h4>\n

Founded: 1919
\nJoined ICSOM: 1962
\nAFM Local: 47
\nDelegate: Ted Botsford<\/h5>\n

The Los Angeles Philharmonic is celebrating Gustavo Dudamel\u2019s last season with us and also looking to the future of the organization. Under the leadership of new CEO Kim Noltemy we recently named Esa-Pekka Salonen Creative Director and Anna Handler Conductor-in-Residence while we continue the search for a Music Director. We recently ratified a new contract that takes us through 2029, and are looking forward to the Olympics happening in LA in 2028.<\/p>\n

Louisville Orchestra<\/h4>\n

Founded: 1937
\nJoined ICSOM: 1980
\nAFM Local: 11-637
\nDelegate: Lillian Pettitt<\/h5>\n

The Louisville Orchestra has had great momentum these last few seasons. We continue to tour throughout the Commonwealth of Kentucky with generous funding from the state and are now a Grammy-winning orchestra, as in 2024 we won our first Grammy for Best Classical Instrumental Solo for the album The American Project conducted and composed by Teddy Abrams with soloist Yuja Wang.<\/p>\n

We are currently searching for our next executive director and are hopeful that we will hire someone before the 2026\u201327 season. Our next negotiation will start at the beginning of 2027 and we are hopeful for another contract that will help propel our orchestra even farther.<\/p>\n

*Metropolitan Opera Orchestra<\/h4>\n

Founded: 1880
\nJoined ICSOM: 1962
\nAFM Local: 802
\nDelegate: Jerem\u00edas Sergiani-Vel\u00e1zquez<\/h5>\n

At the Met Orchestra, our committee is currently engaged in negotiations with management for our next contract ahead of its expiration at the end of the summer. We are looking forward to touring this summer, with performances in London, Lucerne, and Paris. This season, we were pleased to welcome several new colleagues to the orchestra: bassist Alex Bickard, Principal Oboist Peter Davies, trumpeter Nathan McKinstry, and Principal Tubist Hiroshi Nakachi.<\/p>\n

Milwaukee Symphony Orchestra<\/h4>\n

Founded: 1959
\nJoined ICSOM: 1970
\nAFM Local: 8
\nDelegate: Robyn Black<\/h5>\n

Did not respond in time for publication.<\/p>\n

*Minnesota Orchestra<\/h4>\n

Founded: 1903
\nJoined ICSOM: 1962
\nAFM Local: 30-73
\nDelegate: Michael Sutton<\/h5>\n

The Minnesota Orchestra has a paid attendance averaging 82%, with record numbers of new subscribers. Also remarkable is that at any given concert, 24% of the audience is at Orchestra Hall for the first time. We also have continued our local public radio Friday night broadcasts reaching 12,000 listeners, as well as four local PBS broadcast concerts per season that average 22,000 views.<\/p>\n

With 15,000 YouTube subscribers, 58,000 Instagram followers, and 76,000 Facebook followers, our social media department continues to set the bar.<\/p>\n

We recently signed on with Pentatone records, starting with live recordings of Thomas Ad\u00e8\u2019s pieces including the violin concerto with Leila Josefowicz, with more projects to come.<\/p>\n

Last month we announced a new partnership with Principal Guest Conductor and soloist Leonidas Kavakos, and our programming continues to be committed to new works and DEI, as well as concerts for Lunar New Year, Juneteenth, and Pride celebrations.<\/p>\n

We will be breaking ground this spring on an 8,000-seat outdoor venue, which we co-own with local rock promoter First Avenue. This will bring in a strong revenue stream to help offset recent deficits.<\/p>\n

Nashville Symphony<\/h4>\n

Founded: 1946
\nJoined ICSOM: 2000 (the orchestra was also an ICSOM member 1975\u20131977)
\nAFM Local: 257
\nDelegate: Evan Bish<\/h5>\n

The Nashville Symphony has named Leonard Slatkin as music director for the next three seasons while continuing its search for a permanent successor. The orchestra is continuing its efforts to record new works by notable composers. In an exciting new collaboration, the Symphony has worked closely with Dolly Parton to create Threads: My Songs in Symphony, a multimedia production featuring her storytelling and music, which will return for an eight\u2011week summer run at Schermerhorn Symphony Center.<\/p>\n

*National Symphony Orchestra<\/h4>\n

Founded: 1931
\nJoined ICSOM: 1963
\nAFM Local: 161-710
\nDelegate: Alex Jacobsen (update by Jenny Mondie)<\/h5>\n

The National Symphony Orchestra has been enjoying a period of wonderful artistry under Music Director Gianandrea Noseda. While we had a couple of tours fall apart during the pandemic, we returned to Europe last year, have enjoyed yearly visits to Carnegie Hall, and have a date in the Hollywood Bowl this summer, followed by a domestic tour next year and international tours to follow. We have been recording regularly, including a Beethoven cycle, Copland\u2019s Billy the Kid, and many other recordings in the last few years.<\/p>\n

We are currently bargaining a successor agreement and making plans to be displaced from our home at the Kennedy Center Concert Hall for perhaps the next two years. We expect to have a robust schedule next season despite this challenge, with many unique opportunities for a wide variety of local venues and innovative programming.<\/p>\n

New Jersey Symphony<\/h4>\n

Founded: 1922
\nJoined ICSOM: 1973
\nAFM Local: 16-248
\nDelegate: Martin Andersen<\/h5>\n

The New Jersey Symphony is searching for a new music director as Xian Zhang\u2019s 12-year tenure comes to a close. Also, Joshua Bell has been named the NJS\u2019s principal guest conductor. The prospect of moving the Orchestra to a new home base in Jersey City is one step closer to being actualized, following a recent $29M CAFE grant from the New Jersey Economic Development Authority. NJS musicians have commenced gearing up for next year\u2019s contract negotiations, with our five-year CBA expiring in August 2027.<\/p>\n

New York City Ballet Orchestra<\/h4>\n

Founded: 1948
\nJoined ICSOM: 1968
\nAFM Local: 802
\nDelegate: Derek Ratzenboeck<\/h5>\n

The NYC Ballet Orchestra has welcomed eight new musicians in less than two years. Recently, we also have been working with several young and talented guest conductors as they compete for the role of associate music director under Music Director Andrew Litton.<\/p>\n

In the winter season, the company premiered two new ballets: Le Roi Nu (The Naked King)\u2014an allegorical tale based on The Emperor\u2019s New Clothes\u2014with choreography by Artist in Residence Alexei Ratmansky and set to a score by Jean Francaix; and The Wind-Up with choreography by Resident Choreographer Justin Peck set to the first movement of Beethoven\u2019s Eroica Symphony. The orchestra\u2019s three year contract expires on August 31 of this year. We expect to begin negotiations in spring\/summer.<\/p>\n

*New York Philharmonic<\/h4>\n

Founded: 1842
\nJoined ICSOM: 1962
\nAFM Local: 802
\nDelegate: Alina Kobialka<\/h5>\n

The New York Philharmonic is entering a transformative new chapter. Our recent contract negotiations secured a base salary increase of over 30%, restoring our compensation to levels comparable to those of peer orchestras.<\/p>\n

In the upcoming fall season, Gustavo Dudamel begins as the 27th music director, which will bring a new vigor and excitement to the orchestra\u2019s presence both in New York City and beyond. We will kick off his arrival with a two-and-a-half-week European tour, marking our first trip to the continent since 2017.<\/p>\n

North Carolina Symphony<\/h4>\n

Founded: 1932
\nJoined ICSOM: 1972
\nAFM Local: 500
\nDelegate: Kurt Tseng<\/h5>\n

Things here at North Carolina Symphony have been fairly steady the past few years. Although we have had a wave of recent retirements, we have also managed to hold auditions and welcome many new members to the group, including finishing up our first season with our newly appointed concertmaster, Justin Bruns. We are also very excited that this season (2025\u201326) we were able to expand the size of our orchestra by adding a section second violin position.<\/p>\n

Oregon Symphony<\/h4>\n

Founded: 1896
\nJoined ICSOM: 1971
\nAFM Local: 99
\nDelegate: Amanda Grimm<\/h5>\n

The Oregon Symphony players have recently ratified a new four-year contract, having hired the assistance of Kevin Case; this is the first time we have had a lawyer at the table with us and it has been extraordinarily helpful.<\/p>\n

Our administration has gone through major personnel shifts over the last three years. The board appointed Paul Snyder as our new CEO in January (our third CEO in the last four years) and major VP positions are currently open or have been filled with new appointments.<\/p>\n

The biggest change the organization has made in the last year is our elimination of Monday night concerts. We\u2019ve had a dedicated Monday night audience for years but in an attempt to condense ticket sales and have a schedule that aligns more with our fellow orchestras, we are experimenting with Thursday and Friday night concerts in lieu of Monday. We are also giving fewer performances of our classical series in order to allow for the scheduling of more specials and pops concerts.<\/p>\n

Our biggest challenge at this point remains our relationship with the hall and the ever-increasing costs associated with our rental of it. Our management is also embarking on a large capital campaign in the hopes of creating more financial security for the future.<\/p>\n

Orquesta Sinf\u00f3nica de Puerto Rico<\/h4>\n

Founded: 1958
\nJoined ICSOM: 2003
\nAFM Local: 555
\nDelegate: Ferm\u00edn Segarra<\/h5>\n

Did not respond in time for publciation.<\/p>\n

Pacific Symphony<\/h4>\n

Founded: 1978
\nJoined ICSOM: 2021
\nAFM Local: 7
\nDelegate: Andrew Chilcote<\/h5>\n

The fall of 2026 will mark the beginning of Alexander Shelley\u2019s tenure as artistic and music director, only the third in our 48-year history. As we approach the orchestra\u2019s 50th anniversary, ticket sales remain below 2018\u201319 levels, though management has launched a new monthly subscription program offering discounted tickets aimed at attracting new audiences.<\/p>\n

In 2024 we moved to a new temporary outdoor venue provided by the City of Irvine to host our Summer Series, while details for a permanent city-owned outdoor venue remain in the planning stages. 2026\u201327 will be the final year of our three-year CBA, and we remain confident a successor agreement will restore wages to pre-inflationary levels and meet the cost of living in Southern California. We expect that health insurance coverage will be a particularly difficult issue as premiums have drastically risen since we switched to a new system this year.<\/p>\n

The Philadelphia Orchestra<\/h4>\n

Founded: 1900
\nJoined ICSOM: 1962
\nAFM Local: 77
\nDelegate: Nicole Jordan<\/h5>\n

In the years since our last report, The Philadelphia Orchestra has continued to rebuild and stabilize following the disruptions of the pandemic period. The orchestra has steadily moved closer to full playing complement, with the goal of returning to full complement in the coming years, while maintaining an active performance, touring, and media presence.<\/p>\n

Recent successes include two additional Grammy nominations, continued international touring and residencies, and ongoing recording and digital media initiatives. The organization has also undergone a leadership transition, with former Executive Director Ryan Fleur stepping into the role of president and CEO.<\/p>\n

We continue to navigate several challenges that reflect broader trends across the field. These include balancing artistic priorities with increasing programming demands, including the continued growth of film and pops programming. There is also a focus on ensuring that the musician voice remains present in decision-making processes, and that collaboration continues to be prioritized as the institution evolves.<\/p>\n

The orchestra has made progress in addressing inequities in substitute musician compensation and continues efforts to bring overall compensation into closer alignment with peer organizations. A priority of the membership is to expand protections while fostering an environment that upholds the rights of musicians, alongside a commitment to being responsible stewards of the broader Philadelphia musical ecosystem.<\/p>\n

Phoenix Symphony<\/h4>\n

Founded: 1947
\nJoined ICSOM: 1974
\nAFM Local: 586
\nDelegate: Bridget Pasker<\/h5>\n

The Phoenix Symphony is very excited to have announced new Music Director Paolo Bortolameolli in March 2026. We are also pleased to announce Principal Pops Conductor Stuart Chafetz will start in the 2026\u201327 season.<\/p>\n

The organization is currently in the middle of a $60 million capital campaign, $40 million of which will be allocated to the endowment. Despite a lot of positive momentum, the organization still experiences significant cash flow issues in daily operation, and has been operating on a series of one-year contracts since 2019. We anticipate these problems will continue in the near future, depending on the success of the campaign.<\/p>\n

However, we are still attracting and hiring wonderful new musicians, all of whom are contributing to the culture and artistic quality of the organization as a whole.<\/p>\n

*Pittsburgh Symphony Orchestra<\/h4>\n

Founded: 1895
\nJoined ICSOM: 1962
\nAFM Local: 60-471
\nDelegate: Douglas Rosenthal<\/h5>\n

In 2024, the Pittsburgh Symphony Orchestra ratified a three-year successor agreement that included a 12.4% increase in wages over a three-year term. This also achieved substantial improvements to audition and tenure procedures aimed at decreasing unintended bias. These negotiations were seen as a positive first step in resetting previously strained relations and for making up lost ground in wage growth over the past 15 years or so.<\/p>\n

Also in 2024, the PSO toured to the major European festivals of Salzburg, Vienna, Hamburg, Cologne, Merano, and others. Preparations for a similar tour this summer are underway.<\/p>\n

This past December, the PSO\u2019s sold-out performance at Carnegie Hall (New York) was met with critical acclaim, with New York Times critic David Allen titling his review, \u201cThe Pittsburgh Symphony Plays How an Orchestra Should Sound.\u201d<\/p>\n

The PSO continues to release new recorded albums every year with Music Director Manfred Honeck, one of which\u2014including Bruckner\u2019s Seventh Symphony and Mason Bates\u2019s Resurrexit\u2014 received a Grammy Award in 2025.<\/p>\n

On the education front, the PSO\u2019s Paul J. Ross Fellowship Program, now in its 18th year, has expanded to provide for four fellows each season.<\/p>\n

*Rochester Philharmonic Orchestra<\/h4>\n

Founded: 1922
\nJoined ICSOM: 1962
\nAFM Local: 66
\nDelegate: Cory Palmer<\/h5>\n

The Rochester Philharmonic Orchestra has continued and expanded its collaborations with local performing arts organizations including Rochester City Ballet, Garth Fagan Dance, Troupe Vertigo, and PUSH Physical Theater.<\/p>\n

Voices of Today was launched in the 2024\u201325 season, a five-season commissioning, recording, and storytelling initiative that will include the release of five full-length albums. The first of these is scheduled to be released in the fall of 2026 and will feature works by Derrick Skye, James Lee III, and Roberto Sierra. The Voices of Today online hub includes podcasts and filmed performances.<\/p>\n

The RPO has extended its successful Centennial Capital Campaign and has continued to see significant donor support as we continue to work towards pre-pandemic attendance levels.<\/p>\n

*St. Louis Symphony Orchestra<\/h4>\n

Founded: 1880
\nJoined ICSOM: 1962
\nAFM Local: 2-197
\nDelegate: Henry Skolnik<\/h5>\n

In May 2023, the St. Louis Symphony Orchestra broke ground on a transformative expansion and renovation of its historic home, Powell Hall. Following two seasons of performing at alternative venues, the SLSO returned to the stage on September 20, 2025, launching its 146th season in the revitalized Jack C. Taylor Music Center.<\/p>\n

This monumental project, completed on time and on budget, blends the historic grandeur of the 1925 building with modern innovation (for further detail, see \u201cSt. Louis Symphony Orchestra\u2019s Powell Hall Transforms,\u201d Senza Sordino Issue 64, Volume 1).<\/p>\n

Demonstrating incredible community support, the SLSO exceeded its fundraising target, raising over $16 million above the original goal. These additional funds were directed to the endowment to ensure long-term care and maintenance of the facility.<\/p>\n

\u200b\u200bOpening weekend performances in September 2025 garnered universally outstanding reviews, highlighting the enhanced sound and new amenities. Ticket sales have increased substantially, and the new center is successfully attracting large, new audiences. With a robust endowment, strong community support, and this renewed world-class home, the SLSO is exceptionally well-positioned for the decades to come.<\/p>\n

Saint Paul Chamber Orchestra<\/h4>\n

Founded: 1959
\nJoined ICSOM: 1984
\nAFM Local: 30-73
\nDelegate: Alicia McQuerrey<\/h5>\n

Under the guidance of our new leadership, the Saint Paul Chamber Orchestra is developing a new strategic framework. We\u2019ve had the privilege of working with facilitator Jessica Schmidt twice this spring, with a final session scheduled for May to bring our musicians, staff, and board together to prioritize our goals. We have also elected a negotiating committee to prepare for sessions beginning this fall.<\/p>\n

While the current financial climate presents a challenge in finding the right balance, the music is fantastic and our halls are full. We remain fully committed to the collaborative effort required to keep the SPCO world-class.<\/p>\n

San Diego Symphony Orchestra<\/h4>\n

Founded: 1910
\nJoined ICSOM: 1974
\nAFM Local: 325
\nDelegate: Kevin Gobetz<\/h5>\n

The San Diego Symphony Orchestra recently completed a $125 million restoration of its 94-year-old hall, with 2025 marking its second full season of operation. This reopening represents the orchestra\u2019s second major infrastructure investment, following the completion of the Rady Shell at Jacobs Park in summer 2021, a year-round performance venue on San Diego Bay. Together, these projects have formed the cornerstone of the Symphony\u2019s strategic vision over the past decade.<\/p>\n

With both venues now fully operational, the organization is focused on expanding its audience and deepening its connection to communities throughout the region. Under the leadership of Music Director Rafael Payare, the SDSO also plans to release recordings in the coming years, further elevating its national profile. With the current CBA set to expire at the end of the 2027 season, musicians are optimistic and motivated to negotiate a new agreement that reflects the organization\u2019s recent achievements and the momentum they have created.<\/p>\n

San Francisco Ballet Orchestra<\/h4>\n

Founded: 1975
\nJoined ICSOM: 1977
\nAFM Local: 6
\nDelegate: Craig Reiss<\/h5>\n

On May 29, 2025, the San Francisco Ballet Orchestra ratified a new three-year contract with gains in working conditions, cost of living raises, and the addition of a core player in the final year.<\/p>\n

This season, members of the SFBO have presented a series of sold-out chamber music performances in the Rodin Gallery at the Legion of Honor Museum in Golden Gate Park as well as a 50th anniversary fundraising dinner followed by a one-night-only, sold-out concert in Herbst Theater (adjacent to the War Memorial Opera House) including Scheherazade as well as music from Prokofiev\u2019s Cinderella, Bernard Hermann, and Bjork!<\/p>\n

The San Francisco Ballet Association in partnership with the members of the San Francisco Ballet Orchestra has announced a Legacy Orchestra Composition Competition as part of the orchestra\u2019s 50th anniversary. As part of our mission to develop new repertoire and support emerging composers, the competition seeks to create a 21st-century musical legacy that both engages and stimulates contemporary audiences and is as beloved and timeless as the music of our most esteemed historical ballet composers. On February 26, 2026, the SF Ballet Orchestra performed the finalist compositions and awarded a $7,500 prize to Bobby Ge for his violin concerto.<\/p>\n

This season marks the third year of the Denis de Coteau Fellowship (named after our long-term music director), a partnership between the Ballet and the San Francisco Conservatory of Music providing funding, instruction, and performance opportunities for two SFCM students.<\/p>\n

San Francisco Opera Orchestra<\/h4>\n

Founded: 1980
\nJoined ICSOM: 1983
\nAFM Local: 6
\nDelegate: Leslie Ludena<\/h5>\n

The San Francisco Opera Orchestra has seen some progress since the disruption of the COVID pandemic, despite the ongoing challenge of almost yearly contract negotiations.<\/p>\n

The company received a $5-million-dollar-per-year pledge from the CEO of Nvidia, a generous gift for an unspecified number of seasons. In June 2025, the orchestra held the Company\u2019s first ever Pride Concert, which was by all accounts a success and will become an annual event going forward. Between this and multiple Beethoven symphony performances, the orchestra has enjoyed more visibility, emerging from the pit more regularly than ever.<\/p>\n

We have also engaged in community outreach around the Bay Area, including chamber music concerts at retirement homes and in other spaces, and free orchestra performances at the San Francisco Conservatory of Music. The opera also recently announced three performances of Wagner\u2019s complete Ring Cycle to be performed in 2028, marking the first time the work will be conducted there by Music Director Eun Sun Kim.<\/p>\n

*San Francisco Symphony<\/h4>\n

Founded: 1911
\nJoined ICSOM: 1963
\nAFM Local: 6
\nDelegate: Barbara Bogatin<\/h5>\n

The San Francisco Symphony was finally able to achieve a new three-year Collective Bargaining Agreement in October 2025 (retroactive to November 2024), which maintained our status among our top-tier peer orchestras in terms of salary, pension, and working conditions. During this period of labor harmony, our contract mandates facilitated meetings with the musicians, administration, and board to encourage greater understanding and discussion of ways to move the organization forward in a positive direction.<\/p>\n

Music Director Esa-Pekka Salonen departed in June 2024 after only five years, citing a disagreement with the Board of Governors and their artistic direction. In April 2025 we performed an 80th Birthday Celebration Concert with our beloved Music Director Laureate Michael Tilson Thomas, in a heartfelt tribute to his long illustrious career. Exactly one year later on April 23, 2026, he passed away after a long battle with brain cancer, as the city of San Francisco was lit up in blue lights in his honor.<\/p>\n

The 2026\u201327 season will include a roster of 23 guest conductors, a continuation of our innovative multimedia SoundBox series, and a tour to Southern California. We have added language in our new contract that allows the hiring of new musicians without a music director and in the past two years have added 13 new players to our orchestra, as we continue our search for a new music director.<\/p>\n

The Syracuse Orchestra<\/h4>\n

Founded: 2012
\nJoined ICSOM: 1970 (as the Syracuse Symphony Orchestra)
\nAFM Local: 78
\nDelegate: Linda Carmona<\/h5>\n

The Syracuse Orchestra officially transitioned from the Symphoria name in February 2024, marking an important step in the organization\u2019s continued growth and identity within the community. Our current contract expires this year, but included a 3.85% base salary increase. We have a 35-week season that includes two optional summer weeks.<\/p>\n

As part of strengthening the organization\u2019s long-term financial position, The Syracuse Orchestra is working to reduce debt while shaping a sustainable 2026\u201327 season, streamlining from eight Masterworks programs to six and focusing primarily on the core orchestra.<\/p>\n

We are hopeful to announce a new music directory in May, which will mark an exciting new chapter for the orchestra. At the same time, the organization has experienced increased stability in both the development and marketing departments this season\u2014an encouraging step toward stronger audience growth and improved financial footing. Additionally, we have had success in recent auditions, which reflects both the continued strength of the ensemble and growing interest from high-quality musicians.<\/p>\n

At present, we are in the midst of contract negotiations and remain focused on working collaboratively toward outcomes that support both the musicians and the long-term success of the organization.<\/p>\n

Toledo Symphony Orchestra<\/h4>\n

Founded: 1943
\nJoined ICSOM: 2025 (previous membership 1977\u20131987)
\nAFM Local: 15-286
\nDelegate: Laura Longman<\/h5>\n

The Toledo Symphony Orchestra celebrated our return to ICSOM at last year\u2019s conference. We are currently in the middle of a five-year CBA (signed in 2024), which brought the orchestra back to ICSOM membership eligibility with expansions to the core complement and historic wage increases.<\/p>\n

The TSO\u2019s managing organization, Live Arts Toledo\u2014recently rebranded from the Toledo Alliance for the Performing Arts\u2014has seen steady growth in fundraising. This includes a major capital campaign centered around the Toledo Center for Live Arts, a former Masonic Temple renovated into a multi-disciplinary hub consolidating Live Arts Toledo\u2019s administrative and educational activities, which opened in 2025.<\/p>\n

Looking forward, the TSO has embarked on a concertmaster search after the retirement of Kirk Toth, who held the position for 40 years.<\/p>\n

Utah Symphony<\/h4>\n

Founded: 1940
\nJoined ICSOM: 1979
\nAFM Local: 104
\nDelegate: Erin David<\/h5>\n

In February 2026, the Utah Symphony celebrated the induction of our home, Abravanel Hall, to the National Register of Historic Places. This was, in a sense, the victory party following our campaign in 2024\u201325 to save the hall from demolition. Musicians Keith Carrick, Karen Wyatt, and Lori Wike were at the forefront of this endeavor.<\/p>\n

2024\u201325 was also the first season for which Markus Poschner served as music director designate. He will begin as music director in 2027. As designate, so far he has hired a new violinist and a principal timpanist, who will start next season. Conversely, conductor David Robertson is finishing up his run as creative partner this season, with recordings of American composer Steve Mackey\u2019s guitar and saxophone concerti.<\/p>\n

Virginia Symphony Orchestra<\/h4>\n

Founded: 1920
\nJoined ICSOM: 2000
\nAFM Local: 125
\nDelegate: Margaret Albrecht<\/h5>\n

Over the past few years, the Virginia Symphony Orchestra has had some successes and setbacks. Musically, the orchestra continues to thrive under the direction of Music Director Eric Jacobsen and Principal Guest Conductor Thomas Wilkins. Recent collaborations include recording projects, world premieres, and collaborations with renowned guest artists and composers such as Yo- Yo Ma, Kayhan Kalhor, Gil and Orli Shaham, Branford Marsalis, Yuja Wang, Curtis Stewart, Bela Fleck, and Laufey, among others.<\/p>\n

The VSO has also seen an increase in ticket sales (both single ticket and subscription series), with a 69% increase in new or multi-year lapsed subscribers, all of which trend back toward our pre-pandemic numbers. The appointment of a new vice president of marketing and increased staffing in our Patron Services department are at least partially (if not wholly) responsible for this growth. Next season, one of our main venues in Norfolk will be closed for renovations. As a result, we are looking at more run-out style concerts and are curious to see how this might impact ticket sales\/audience growth.<\/p>\n

Financially, things have been a bit more tumultuous. We experienced a high turnover rate in our administration, especially our Finance and Orchestra Activities departments. We welcomed a new Board chair, new president\/CEO, and have had several finance directors come and go. The VSO had a scare with a late audit in Fiscal Year 23\u201324 and an extension into our line of credit, but our newly appointed administrative members have worked hard to turn things around.<\/p>\n

We have paid down the majority of our credit extension, and have come back with a clean audit for 2023\u201324 and for this season. Our development team has also been instrumental in securing some of the largest donor gifts in the VSO\u2019s history, allowing us to endow our music director position and grow our overall endowment. We are currently in the midst of a capital campaign and hoping for a continued positive outcome.<\/p>\n","protected":false},"excerpt":{"rendered":"

Prior to each AFM Convention, the Governing Board asks each delegate of our member orchestras to give a sense of what their orchestras have faced in the last few years as well as the challenges they face going forward. Responses were collected between March and May and represent a snapshot of the conditions in our… [Read more]<\/a><\/p>\n","protected":false},"author":2,"featured_media":3713,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[276],"tags":[],"class_list":["post-4351","post","type-post","status-publish","format-standard","has-post-thumbnail","category-june-2026","entry"],"acf":[],"yoast_head":"\nThe State of ICSOM 2026 | Senza Sordino<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icsom.org\/senzasordino\/2026\/06\/the-state-of-icsom-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The State of ICSOM 2026 | Senza Sordino\" \/>\n<meta property=\"og:description\" content=\"Prior to each AFM Convention, the Governing Board asks each delegate of our member orchestras to give a sense of what their orchestras have faced in the last few years as well as the challenges they face going forward. 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