boston symphony orchestra, inc.

boston symphony orchestra, inc.
annual report 2012–13
I
Edmund F. Kelly, Eunice and Julian Cohen Managing Director Mark Volpe
The 2012–13 year marked a continuation of historical success, punctuated by the promise of a bright future for the Boston
Symphony Orchestra, Inc. As usual, all that the organization has achieved, and all that it is poised to achieve, are the direct result
of the support and collaboration of its many community members—musicians, donors, concertgoers, online and broadcast
audience, staff, and volunteers.
Once again, the Boston Symphony performed with great artistry during the 2012–13 season. The orchestra proved its virtuosity
once more through another stunning season. The musical success was a perfect backdrop to the long-awaited announcement
of Andris Nelsons’ appointment as the BSO’s 15th music director. He assumed the role of Ray and Maria Stata Music Director
Designate in the fall of 2013, and will take up the position full-time in September of 2014. The City of Boston and its thriving
cultural community welcomed Maestro Nelsons to Boston in June, and Nelsons vowed to make Boston his musical and civic
home for his tenure with the BSO.
Under the baton of Julian and Eunice Cohen Boston Pops Conductor Keith Lockhart, the Boston Pops continued its long-standing
and beloved tradition of entertaining audiences at Symphony Hall, Tanglewood, and beyond. Aptly nicknamed “America’s
Orchestra,” the Pops delighted audiences in person though concerts in Boston, the Berkshires, and on tour, and reached listeners
around the world through online and traditional media broadcasts. Through almost any style of music, and accompanied by
some of the brightest guest artists of diverse genres, the Boston Pops affirmed its position as the master of the format—one
this very orchestra created generations ago.
America’s premier summer music festival—Tanglewood—celebrated another glorious season of incredible music in the
breathtaking natural setting of the Berkshires in 2013. As always, a veritable who’s who of soloists and conductors shared the
stage with the BSO over the course of the season, while a slate of jazz and popular artists offered something for all to enjoy,
ensuring that the 2013 season was unique and memorable.
Financially, the BSO remained committed to fulfilling its music-making and educational mission despite continuing economic
challenges—residual effects from recent global financial crises and a changing cultural landscape. Another strong year of
fundraising, combined with the BSO’s careful stewardship of investments and a thoughtful approach to containing expenses,
allowed the BSO to succeed in spite of financial pressures, ensuring that the organization retained its stature as a leader in
orchestral music presentation the world over.
Your support as a loyal donor to the BSO, Boston Pops, and Tanglewood makes possible all that this organization has been able
to achieve in the past year. For that, we are deeply grateful. As we look to a new chapter in the history of this orchestra, and all
its component elements, we thank you for your dedication and we look forward to our continued partnership.
With sincere appreciation for your support,
Edmund F. Kelly
Chairman
II
Mark Volpe
Eunice and Julian Cohen Managing Director
1
A B OV E L E F T TO R I G H T:
Charles Dutoit leads Nikolai Lugansky
and the BSO in Rachmaninoff’s
Piano Concerto No. 3.
Juanjo Mena conducts the BSO
in the American Premiere of Circle Map
by Saariaho.
Julian and Eunice Cohen
Boston Pops Conductor Keith Lockhart
with guest artist Megan Hilty.
2
The Boston Symphony Orchestra, Inc.
The Boston Pops
The mission of the Boston Symphony Orchestra, Inc. is to foster and maintain an
organization dedicated to the making of music consonant with the highest aspirations
of the musical art, creating performances and providing educational and training
programs at the highest level of excellence. The Boston Symphony Orchestra, Inc.
engages more people in the remarkable variety and wonder of classical music than
any other symphonic organization in the world. Through six different components—
the Boston Symphony, the Boston Pops, Tanglewood, the Tanglewood Music Center,
the Tanglewood Festival Chorus, and Symphony Hall—the organization brings music
into the lives of millions of people every year. Unmatched in the size and scope of
its activities, the BSO remains committed to making classical music of the highest
quality accessible to audiences of all ages, from music classrooms in inner-city Boston
to concert halls around the world. From live concerts at Symphony Hall, Tanglewood,
and on tour, to the plethora of free offerings on the BSO’s hugely popular website,
the Boston Symphony Orchestra, Inc. continues to share an abundance of music with
appreciative audiences across the globe.
For more than 125 years, “America’s Orchestra” has led the way in programming that
makes classical and popular music fun, accessible, and relevant to today's listening
audiences. What began in 1885 as an ensemble playing a modest series of Promenade
Concerts has grown into the most recorded and arguably the most beloved orchestra
in the country, renowned for an ingenious and engaging blend of styles. During its two
annual seasons at Symphony Hall for spring and holiday concerts, the Boston Pops
has attracted thousands of listeners with its energetic programs. Through concerts,
recordings, television, and special events, the Pops reaches millions of music lovers each
year. In the process, the ensemble expanded what has become an unrivalled library of
popular music in orchestral arrangements. Under the direction of Keith Lockhart, the
orchestra’s repertoire is built on its storied legacy of performing appealing programs
that combine light symphonic fare, American classics, memorable hits from film and
Broadway, and a wide variety of pop, jazz, indie rock, big band, and country music. The
Pops' long time partner, Fidelity Investments, returned once again as the sponsor of the
entire 2012–13 season.
The Boston Symphony Orchestra
Tanglewood
Known for its diverse programs, passionate performances, and tradition of innovation,
the Boston Symphony Orchestra has been at the forefront of artistic excellence for more
than 130 years. The most significant news of the BSO’s past year was the appointment
of Music Director Designate Andris Nelsons, who will take on the post full time in
2014. The announcement was met with great fanfare throughout the classical music
community. In advance of Nelsons’ arrival, the BSO reinforced its reputation as one of
the world’s most accomplished and versatile ensembles working with an impressive
slate of guest conductors throughout the 2012–13 season. The orchestra presented
compelling performances that blended classical masterpieces with works by the
brightest stars among today's celebrated composers, leading audiences through the
excitement of virtuosic performance and inspired composition. The BSO's programs
and performances are dynamic and imaginative, presenting the best that the world of
symphonic music can offer. This lively diversity continues to attract some of the world’s
most acclaimed guest artists and conductors. For the first time, Bank of America and
EMC Corporation partnered as BSO Season Co-Sponsors in 2012–13.
Hailed as America’s premier summer music festival, Tanglewood provided yet another
sublime experience of musical performances of the highest artistry amidst the pastoral
beauty of the Berkshire Hills. Since legendary BSO Music Director Serge Koussevitzky
established Tanglewood in 1937 as the BSO’s summer home, Tanglewood has offered
a unique tapestry of programming that embraces a wide range of musical styles. The
2013 Tanglewood season drew more than 325,000 visitors from around the world. As
always, the heart of the Tanglewood season was the BSO in performances of music
representing three centuries of orchestral masterworks led by some of the world’s great
conductors. The Tanglewood Music Center continued to offer a wide array of spectacular
performances by its talented Fellows, who spend the summer working with many of the
classical music world's finest artists, including members of the Boston Symphony and
guests of the BSO. DARTS (Days in the Arts at Tanglewood) immersed urban, suburban,
and rural 6th–8th graders in a variety of activities designed to ignite a lifelong
appreciation of music and the arts, while special promotions and ticket programs made
Tanglewood more accessible to all.
A B OV E L E F T TO R I G H T:
Boston Pops Laureate Conductor
John Williams leads the Boston Pops
during Film Night.
Joshua Bell performs Tchaikovsky’s
Violin Concerto with the BSO
and conductor Rafael Frühbeck de Burgos
on Opening Night at Tanglewood.
LaCroix Family Fund Conductor Emeritus
Bernard Haitink conducts the BSO,
the Tanglewood Festival Chorus,
and guest vocalists in
Beethoven’s Symphony No. 9.
3
2012–13: A Season in Review
By Anthony Fogg, Artistic Administrator
T
he sense of anticipation was palpable throughout
much of the BSO’s 2012–13 season: Who would
be chosen as the next music director of our great
orchestra? Pundits, critics, and music-lovers around the
globe speculated the possibilities and merits of a range
of maestros, leading to the announcement last May
that the young Latvian Andris Nelsons would become
the Ray and Maria Stata Music Director and be the 15th
conductor to head the organization, with a five-year
contract starting in September 2014.
Maestro Nelsons led a series of vivid performances
in Symphony Hall in late January and early February
2013, which signaled a powerful chemistry between
conductor and musicians—a chemistry strong enough
to convince the search committee that he was the
unquestionable first choice. Future seasons will, no
doubt, reveal many rich dimensions of this relationship,
as Andris Nelsons and the BSO players refine and
develop their shared artistry.
This sense of shared artistry was very much in evidence
throughout much of the 2012–13 season, as Symphony
Hall welcomed many of its most beloved collaborators.
LaCroix Family Fund Conductor Emeritus Bernard
Haitink closed the season with luminous readings of
Mahler’s 4th and Schubert’s 9th symphonies; Christoph
von Dohnányi brought great authority to the staples of
the German repertoire; while Rafael Frühbeck de Burgos
demonstrated his versatility in composers ranging
from Haydn to Hindemith. Continuing his multi-season
survey of key works from the early 20th century, Charles
Dutoit led magical performances of one-act operas by
Stravinsky and Ravel.
4
Among other regular guest conductors, Daniele Gatti
directed three different subscription weeks, featuring
the Verdi Requiem and Mahler’s monumental 3rd
symphony, in addition to BSO concerts in Carnegie
Hall last April. A newcomer to the BSO podium,
Vladimir Jurowski conducted Shostakovich’s sprawling
yet gripping 4th symphony with rare assuredness.
Following the season-opening all-Beethoven program
with Itzhak Perlman in the dual role of soloist and
conductor, Bramwell Tovey led three performances of
Gershwin’s Porgy and Bess, the first time the work has
been performed in its entirety at Symphony Hall.
Furthering the BSO’s storied tradition of promoting and
performing the music of our time, the 2012–13 season
included new commissioned works by Kaija Saariaho
and Augusta Read Thomas, as well as recent scores by
Roberto Sierra and James MacMillan. Continuing a long
practice of presenting composer/conductors in their
own music, Thomas Adès and Oliver Knussen presented
deeply authoritative interpretations of several of their
own compositions.
In addition to Mr. Perlman for the opening night gala,
many of classical music’s superstars partnered with
the BSO last season. These included violinist Joshua
Bell in Bernstein’s Serenade, Gil Shaham in the music
of Benjamin Britten, Jean-Yves Thibaudet in French
repertoire, Radu Lupu in Mozart, and, in his subscription
debut, the young Chinese pianist Lang Lang. Vocalists
Anne Sofie von Otter, Michelle DeYoung, Dawn Upshaw,
and Camilla Tilling, highlighted the roster of vocal
artistry throughout the BSO season.
5
A B OV E L E F T TO R I G H T:
Violinist Nikolai Znaider joined
LaCroix Family Fund Conductor Emeritus
Bernard Haitink and the BSO for
Brahms' Violin Concerto.
Conductor Daniele Gatti leading the BSO
and the Tanglewood Festival Chorus
and soloists in Verdi’s Requiem.
Santa Claus with Julian and Eunice Cohen
Boston Pops conductor Keith Lockhart
at the Opening Night of Holiday Pops.
Under the direction of conductor Keith Lockhart, both Boston Pops seasons
were memorable, once again proving the beloved ensemble’s versatility and
talent. The annual Holiday Pops concerts, which are an established Boston
tradition, were filled with seasonal favorites new and old, joyously performed by
the orchestra and the Tanglewood Festival Chorus. And as is the custom, every
performance peaked with a visit from Santa Claus who brought tidings of good
cheer to all assembled.
In the spring, the Pops returned to Symphony Hall to perform hits of the
silver screen in a season aptly titled “Lights, Camera, Action.” Acclaimed guests
included Vince Gill for opening night; TV stars Megan Hilty from Smash
and Matthew Morrison from Glee. True to the season’s name, film played a
prominent role in the programming, with a presentation of Disney’s Fantasia
live in concert, favorites from the Pixar series of animated films conducted by
Germeshausen Youth and Family Concerts Conductor Thomas Wilkins, and
perennial highlight Film Night, led by composer and Pops Laureate Conductor
John Williams. The Boston Pops Gospel Choir, under the direction of Charles
Floyd, joined their voices to celebrate the 21st season of the beloved Gospel
Night program, which has inspired and uplifted concertgoers since 1993.
Music for the voice was also very much at the heart of the 2013 Tanglewood
season. Among the most anticipated and acclaimed events of last summer
was the American premiere of George Benjamin’s opera Written on Skin,
performed by the forces of the Tanglewood Music Center (TMC) under the
direction of the composer. Rarely has such a new work—and its performance—
received such universally rapturous reception by both audience and critics. Mr.
Benjamin’s opera was the centerpiece of the TMC’s Festival of Contemporary
Music, directed by pianist Pierre-Laurent Aimard, and focused on modern
European masters. Earlier in the summer season, TMC Fellows, working with
the choreographer/director Mark Morris, offered a memorable evening of Henry
Purcell and Benjamin Britten theatrical works, including Britten’s moving church
parable, Curlew River.
The list of many renowned conductors to appear with the BSO at Tanglewood
last summer—a season which saw record attendance at classical
presentations—includes Mr. Haitink in the season-ending performance of
Beethoven 9, Stéphane Denève, Pinchas Zukerman, Mr. Dutoit, and Mr. von
Dohnányi, the latter of whom also led the Tanglewood Music Center Orchestra
in a memorable account of Mahler’s 1st symphony. Among important soloists
to appear with the BSO were Yo-Yo Ma, Emanuel Ax, Yefim Bronfman, Kristine
Opolais, Joshua Bell (his 25th consecutive summer at Tanglewood), and Garrick
Ohlsson.
A B OV E L E F T TO R I G H T:
Glee’s Matthew Morrison performs
with Keith Lockhart and the Boston Pops.
David Newman conducts the BSO
in Leonard Bernstein’s score to
West Side Story.
ˇ
Yo-Yo Ma performs Dvorák’s
Cello Concerto with Charles Dutoit
and the BSO at Tanglewood.
Mr. Ohlsson was one of four outstanding pianists who presented recitals in
the beautiful atmosphere of Seiji Ozawa Hall. Completing the line-up was
Paul Lewis (in the final three sonatas of Schubert), Christian Zacharias, and
young virtuoso Daniil Trifonov. Boston’s Emmanuel Music presented a concert
version of John Harbison’s opera, The Great Gatsby, and, from the realm of jazz,
Esperanza Spalding, Monty Alexander, and Wynton Marsalis offered the best of
their world.
2012–13: a season to remember with much pleasure—and as the beginning of a
great new chapter for the BSO.
In a dramatic presentation of a completely different type, the BSO reveled in the
brilliance of Leonard Bernstein’s virtuosic score to West Side Story, performed to
accompany a newly restored print of the iconic movie. And with the wonderful
Welsh baritone, Bryn Terfel, and a distinguished cast, revealed the drama and
beauty of the 3rd act of Wagner’s opera Die Walküre.
6
7
“We want the concerts to serve as a starting point
in our relationship with young children and their
families, and to be a springboard to a continuing
relationship with the BSO and the art form”
I
t looks a lot more like story time than a concert. A
throng of toddlers sits on the floor of the Boston
Children’s Museum, gazing attentively at the
outgoing adults in front of them. But the story told here
has no text or pictures; it is expressed through music, as
played by members of the Boston Symphony Orchestra.
Though the little listeners may view it as a fun Sunday
outing, these new BSO Concerts for Very Young People
are just one of the important new initiatives designed
by the BSO’s Education and Community Engagement
staff to build relationships within the Boston
community and promote access and ownership of
orchestral music for people of all ages.
Concerts for kids are nothing new for the BSO. But this
type of concert—for the toddler and preschool set—is
a new approach for the orchestra, which gears its Youth
Concerts at Symphony Hall to a slightly older audience.
“We want to ensure that there are opportunities for
access at any point in a listener’s life,” says Helaine
B. Allen Director of Education and Community
Engagement Jessica Schmidt. “We want the concerts to
serve as a starting point in our relationship with young
children and their families, and to be a springboard to a
continuing relationship with the BSO and the art form.
Last year, more than 400 children and their families
attended, and we look forward to continuing our
collaboration with the Boston Children’s Museum for
more of these concerts in the future.”
But listening to the BSO is not the only way to engage
with the orchestra. The Artistic Exchange Program,
a new community collaboration tied to the BSO’s
Community Chamber Concerts, allowed the BSO to
highlight the unique artistic strengths of some of its
partner communities. In 2012–13, local music groups,
including the Boston Citywide String Orchestra, the
Somerville High School String Chamber Ensemble,
and the Chelsea High School Concert Band, got the
opportunity to share the bill with BSO musicians before
three of the popular BSO Community Chamber Concerts.
“There is nothing quite like seeing our BSO musicians
as audience members, listening to a student ensemble
perform before their concert, then trading places with
the students as the young people become the listeners,”
says Schmidt. “The act of a community ensemble
performing in close proximity to a BSO ensemble, each
performing for the other, is inherently connecting. We
find that this act of musical exchange builds meaning
and relevance from both perspectives and can serve
as a starting place in building long-term, reciprocal
relationships within the community.”
As the Education and Community Engagement programs
continue to grow and evolve with collaboration from the
BSO’s communities of listeners, the sense of interaction
and ownership with orchestral music can spread out
beyond the doors of Symphony Hall into the lives and
homes of people throughout Greater Boston.
“People in the Boston area have a deep sense of pride
in their communities,” says Schmidt. “There are so
many ways that we can support the artistic lives of
our neighbors at all points of their lifespans and in
their communities directly, through these types of
collaborations. We intend to keep refining and adding
to the programs, in ways that are responsive to the
communities we serve, to examine all of these exciting
possibilities. This is a huge area of opportunity that will
only get better and deeper over time.”
Every Age, Every Stage
New Education and Engagement Programs Bring Music to the Community
When the BSO welcomed Music Director Designate Andris Nelsons to Boston in June, it was introducing him to the
city’s cultural scene and to all of Greater Boston. Recognizing the BSO’s importance to its community, Nelsons has
affirmed his desire to connect with all of Greater Boston as well as BSO concertgoers. He intends to ingrain himself
deeply into Boston to become an integral part of the region as a musician, a public figure, and an ambassador for
the arts and the BSO. The community that has supported its orchestra for so long will see the favor repaid in the
energetic Nelsons, who will formally assume his post in September.
8
9
“Today’s young concertgoers are poised to become
tomorrow’s subscribers, donors, and lifelong
supporters of the arts”
A
concert is a conversation—a two-way interplay
between the performers on stage and the
listeners in the auditorium, one that requires
participation of both to thrive. For more than 130 years,
the BSO has continued this musical exchange with
generations of patrons. But in an environment with
an ever-growing multitude of entertainment options,
the BSO is developing several successful programs
that strive to ensure that the musical conversation will
continue with a new generation of young listeners.
Research conducted by the BSO shows that many young
people enjoy concerts, and would attend more often
were it not for one barrier—ticket price. Because concert
production costs for an orchestra of the BSO’s caliber are
very high, simply slashing ticket prices would deteriorate
the quality of the performances, which runs contrary to
the BSO’s mission. Thus, the BSO has to take a creative
approach to several programs that both increase access
for younger listeners while decreasing or eliminating
the cost of attendance.
The BSO is fortunate to be located in Boston, a city
with legions of young professionals, including many
devoted patrons of the arts. In order to make concerts
more accessible to these eager listeners, the BSO runs
the <40=$20 program, which offers $20 tickets to
most concerts to any patron under the age of 40. The
offer has been quite popular with listeners in this age
group. Launched in 2009, this initiative has brought
58,000 music lovers to concerts, helping show just how
important pricing factors are in audience development
for younger adult listeners.
Of course, Boston is a hub of education, and with
so many college students in the area, the BSO has
developed a program to ensure that they can engage
with the orchestra as well. The BSO College Card costs
just $25 per season, and provides tickets at no additional
cost for up to 25 concerts—perfect for the musicloving college student on a budget. The initiative is
also mirrored for younger students with the $10 High
School Card. More than 16,000 high school and college
students embraced this opportunity last year, and nearly
135,000 students have enjoyed concerts as part of these
programs since their inception.
Boston is not the only city that benefits from these
initiatives—families in the Berkshires can also take
advantage of the Free Lawn Ticket program for young
people at Tanglewood. Supported by a generous gift
from the Reich Family and the Pumpkin Trust, this
initiative issues free lawn tickets to patrons 17 and
under, up to four per parent or guardian with a paid
adult ticket. Last summer, the Tanglewood Box Office
issued more than 11,000 free tickets, allowing thousands
of families to attend concerts that might have been
financially prohibitive otherwise.
Despite the myth of “graying” concert audiences—
ironically, one that has perpetuated for generations—
BSO audience data show a drop in the median age
of patrons in recent years, and that the average BSO
concertgoer is nine years younger than the average
arts patron in America. Just as the young child who
first picks up an instrument may one day become the
next virtuoso, today’s young concertgoers are poised to
become tomorrow’s subscribers, donors, and lifelong
supporters of the arts. These successful BSO programs
are working to ensure that the musical conversation
between the BSO and its audience, started generations
ago, continues long into the future.
Tomorrow's Audiences Today
Audience Development Attracts Younger Listeners to the BSO
Carol and Joe Reich have delighted in sharing the sights and sounds of Tanglewood with their children and
grandchildren for more than 40 years. As such, their decision to support the successful Free Lawn Tickets for
Children program at Tanglewood with a gift through the Pumpkin Trust carried on their devotion for opening
Tanglewood up to young people. “Tanglewood is a gift, and it is still a gift to us when we attend today,” says Carol.
“It is an important gathering and listening place that we love to share.” The Reich family has committed to sharing
Tanglewood with young people again this summer, repeating their generous gift in 2014.
10
11
“People across the country are so familiar with
the Boston Pops from years of recordings and TV
broadcasts that there's already a deep connection
no matter where we go”
O
ne January afternoon in 1953, legendary
Boston Pops Conductor Arthur Fiedler got into
his car at Symphony Hall and left Boston, not
to return for almost three months. He was not alone.
Behind him, a truck full of instruments and buses
packed with musicians. Thus was born the first-ever
Boston Pops tour, which reached 61 cities in all corners
of the United States.
Though years of recordings and radio broadcasts
had already brought the Pops into homes across the
country in 1953, Fiedler brought listeners out of their
homes and into concert halls throughout America
with the Boston Pops Touring Orchestra. In doing
so, he began a tradition of bringing a bit of Boston
around the world in the form of the city’s greatest
musical ambassadors, the Pops. Since then, “America’s
Orchestra” has not looked back, celebrating the 60th
anniversary of that initial tour with—appropriately—
more touring in 2012–13.
Under the direction of Boston Pops Conductor Keith
Lockhart, who has led the Pops on more than 40
national tours, the Boston Pops Esplanade Orchestra
performed for eager listeners in 10 different states
last year. Their touring began in December, joined by
guest artists Five By Design, for the traditional holiday
performances in New England, New York, and New
Jersey. Lockhart himself inaugurated the holiday tours
in his first season as conductor in 1995. In February and
March, the orchestra, joined by singer Anne Hampton
Callaway, took to the road for a southeastern United
States tour, sponsored by Fidelity Investments. Over
the course of two weeks, they performed the music
of Barbra Streisand in nine cities in Virginia, North
Carolina, South Carolina, Georgia, and Florida.
Over the six decades of touring for the Pops,
undertaking a nationwide tour has evolved
significantly. What started as a motorcade, led by
Fiedler’s car, is now up to 125 people—orchestra
and crew included—who travel by bus, rail, and air,
depending on the ultimate destination. A recent
Florida tour, for instance, required two flights, 13 bus
rides, three rental cars for local staff transportation,
610 hotel rooms, and some 250 pieces of luggage
to shuttle around to each stop. That does not even
include the 53-foot truck that carried 1,400 music parts
and 100 instrument cases from show to show. Though
it is a great deal of work to execute the logistics for
such a huge production, once the concert begins, it all
becomes worthwhile for both audience and orchestra.
"People across the country are so familiar with
the Boston Pops from years of recordings and TV
broadcasts that there's already a deep connection
no matter where we go," says Lockhart. "We've seen
people who own every single Pops album, going back
to Fiedler's day. It is like having a hometown, Boston
crowd wherever we perform across the country. I like to
think we’re bringing a bit of Boston to them, but their
warmth and excitement makes it feel like home for us."
In addition to other formal tours, the Pops plays other
shows around Massachusetts throughout the year,
including the Fourth of July Fireworks Spectacular and
performances at local colleges such as Northeastern,
Boston College, and Boston University. But there is
no rest for these road warriors – by the time the Pops
returned to Symphony Hall after their final stop, plans
to bring “America’s Orchestra” out across America
again the next year were already underway.
60 Years on the Road
America's Orchestra Continues Touring Tradition
BSO Founder Major Henry Lee Higginson also created the Boston Pops, after his desire for an ensemble to play “a
lighter kind of music—in which should be included good dance music.” Today, the Pops still counts a Higginson as
its closest and most generous ally. In 2013, Cecile Higginson Murphy, great-granddaughter of the founder, dedicated
a gift to name the Cecile Higginson Murphy Boston Pops Management Office at Symphony Hall. “There’s a certain
amount of pride in carrying on the family tradition,” Cecile has said of her support of the Pops. “I love being able to
help more people have music in their lives. It’s uplifting. It’s inspiring.”
12
13
As of August 31, 2013
The Boston Symphony Orchestra experienced both encouraging trends and
financial challenges in its fiscal year ended August 31, 2013. Our net worth
increased by $47.3 million or 11% compared to year-end 2012. Our endowment
returned a robust 9.2% and ended the year at a record level of $421.7 million.
At the same time, for fiscal 2013, the Symphony recorded a deficit of $2.2
million on revenues of $81.0 million and expenses of $83.2 million.
(in millions of dollars)
400
300
200
100
0
2009
2010
2011
2013
2012
F Y 2 0 1 3 TOTA L R E V E N U E S * : $ 8 0, 9 9 5 ,0 0 0
Other Contributed
Support: 28%
Boston Symphony
Orchestra Concerts: 12%
Boston Pops
Concerts: 13%
iting)
bers
Treasurer's Statement
TOTA L E N D OWM E N T I N V E STM E N TS
Tanglewood
Concerts: 12%
Endowment
Allocation: 23%
Other Earned
Income: 12%
*Revenue as percentage of total revenue
F Y 2 0 1 3 TOTA L E X P E N S E S : $ 8 3 ,1 9 1 ,0 0 0
Fundraising and
Events and Projects**: 10%
General and
Administrative: 10%
Concerts: 28%
uped
g)
olor editin
Marketing,
Promotion,
and Sales: 5%
Behind these results were many positive trends in operations and
support. Winter Symphony Subscription ticket sales grew by 1% and
would have shown an even healthier increase absent the impact of the
Marathon bombing and severe weather events. Holiday Pops and Spring
Pops experienced sales growth of 9% and 3%, respectively. And the BSO’s
Tanglewood shed concerts experienced a 6% sales increase when adjusted
for the 2012 Anniversary Gala concert. Annual giving increased by 8% over
2012; and total annual support, including modest growth in endowment
income, grew by 2%. Also of note was the continuing effect of multi-year cost
containment efforts whereby expense growth was kept to less than 1% after
flat year over year expenses in 2012.
These positive developments were not sufficient to overcome certain
headwinds. The cost of postretirement benefit expenses, though lower
than in 2011, continued to depress results due to discounting effects in a
low interest rate environment. And, while anticipated, the final $2.3 million
installment of the very successful Immediate Impact Fund, a $12 million
multi-year fund generously provided by donors to cushion the effects of
the economic downturn, was $1.1 million lower than the 2012 amount. A
summary of our financials is presented on these pages for your review.
As the fiscal year began, recognizing the challenges and opportunities for
the Symphony in coming years, a broad group of members of our Boston
Symphony community, including Trustees, Overseers, management and
musicians, commenced a strategic planning process to identify and develop
initiatives and resources to assure a vibrant future for the Symphony. The
thoughtfulness and creativity, and the deep engagement, demonstrated in
these ongoing strategic planning activities, in combination with our entire
community’s excitement and anticipation about the arrival next fall of our
new Music Director, Andris Nelsons, create strong confidence in the future of
our great organization.
In closing, we thank the Boston Symphony community for its generous
financial support, advice and collaboration throughout the year and reaffirm
our optimism for the future.
Five-Year Financial Highlights
2009
2010
2011
2012
2013
$ 32,373
2,045
8,784
$ 32,222
7,466
$ 30,163
1,440
6,651
$ 30,508
2,022
7,777
$ 29,978
2,239
7,258
43,202
39,688
38,254
40,307
39,475
35,322
31,498
30,466
32,216
30,931
22,514
5,611
3,792
6,703
24,210
5,737
4,044
6,901
24,256
5,749
4,227
7,243
24,153
5,727
3,705
8,013
25,193
5,610
3,776
8,921
TOTAL FIXED COSTS
38,620
40,892
41,475
41,598
43,500
TOTAL OPERATING EXPENSES
73,942
72,390
71,941
73,814
74,431
(30,740)
(32,702)
(33,687)
(33,507)
(34,956)
15,917
(7,646)
1,760
19,839
18,192
(7,500)
2,009
20,280
18,984
(7,376)
2,129
19,597
20,096
(7,286)
2,553
18,432
18,931
(7,179)
2,393
18,575
29,870
32,981
33,334
33,795
32,720
(870)
279
(353)
288
(2,236)
OPERATING ACTIVITY (in thousands of dollars)
OPERATING REVENUES
Concerts
Tours
Other*
TOTAL OPERATING REVENUES
DIRECT OPERATING EXPENSES
FIXED COSTS
Artistic
Facilities net
Marketing, promotion and sales
General and administrative
DEFICIENCY FROM OPERATIONS
SUPPORT
Annual contributions
Fundraising and sponsorship expenses
Fundraising events and projects (net)
Endowment allocation
NET SUPPORT
SURPLUS (DEFICIT)
TOTAL REVENUES
81,759
81,108
79,853
82,484
80,955
TOTAL EXPENSES
82,629
80,829
80,206
82,196
83,191
37,897
36,643
40,001
43,807
44,406
306,883
23,105
331,182
23,294
362,187
25,183
354,914
25,049
395,674
25,976
$ 329,988
$ 354,476
$ 387,370
$ 379,963
$ 421,650
-13.6%
9.5%
13.6%
2.9%
9.2%
PROPERTY AND ENDOWMENT (in thousands of dollars)
PROPERTY
ENDOWMENT
Pooled endowment and other investments
Assets held by others
TOTAL ENDOWMENT INVESTMENTS
POOLED ENDOWMENT TOTAL RETURN FOR THE YEAR
* Other includes electronic media, education, merchandise sales, hall rental, concession income, and other revenues
attendance 2012 –13 season
bso concerts
concerts
attendance
88
94
34
15
5
204,810
209,100
210,140
26,380
345,400
236
995,830
BSO Winter Season (a)
Boston Pops (b)
Tanglewood (BSO Events)
Youth and Family Concerts
Esplanade
Facilities: 7%
Other
Activity*: 5%
Education: 5%
bso-produced concerts
Regular Artistic
Personnel: 30%
* Other includes electronic media and other expenses
** Includes events and projects, sponsorship,
and campaign-related expenses
Audited Financial Statements are available
upon request by contacting the BSO's
Business Office at 617-638-9220.
14
Theresa M. Stone
Treasurer
attendance
Chamber Players (c) and other ensemble performances
Seiji Ozawa Hall Recital Series
Popular Artists/July 4th at Tanglewood/Jazz Concerts
Shed Recitals/Visiting Orchestras
Tanglewood Music Center
Total
26
10
12
1
39
12,530
14,360
78,880
7,430
16,030
88
129,230
324
1,125,060
(a) includes subscription and U.S. tour concerts
(b) includes Spring and Holiday Pops seasons at
(c) includes concerts in Boston at
Symphony Hall, two U.S. tours and runout concerts
Jordan Hall and Symphony Hall and at Tanglewood
15
Trustees of the Boston Symphony Orchestra, Inc.
Edmund Kelly
Chairman
Paul Buttenwieser
Vice-Chairman
Diddy Cullinane
Vice-Chairman
Stephen B. Kay
Vice-Chairman
Robert P. O’Block
Vice-Chairman
Roger T. Servison
Vice-Chairman
Stephen R. Weber
Vice-Chairman
Theresa M. Stone
Treasurer
William F. Achtmeyer
George D. Behrakis
Alan S. Bressler ‡
Jan Brett
Susan Bredhoff Cohen
ex-officio
Richard F. Connolly, Jr.
Cynthia Curme
Alan J. Dworsky
William R. Elfers
Thomas E. Faust, Jr.
Nancy J. Fitzpatrick
Michael Gordon
Brent L. Henry
Charles W. Jack, ex-officio
Charles H. Jenkins, Jr.
Joyce G. Linde
John M. Loder
Nancy K. Lubin
Carmine A. Martignetti
Robert J. Mayer, M.D.
Susan W. Paine
Peter Palandjian
ex-officio
Carol Reich
Arthur I. Segel
Thomas G. Stemberg
Caroline Taylor
Stephen R. Weiner
Robert C. Winters
Board of Overseers of the Boston Symphony Orchestra, Inc.
life trustees
Vernon R. Alden
Harlan E. Anderson
David B. Arnold, Jr.
J.P. Barger
Leo L. Beranek
Deborah Davis Berman
Peter A. Brooke
Helene R. Cahners ‡
John F. Cogan, Jr.
Mrs. Edith L. Dabney
Nelson J. Darling, Jr.
Nina L. Doggett
Mrs. John H. Fitzpatrick ‡
Dean W. Freed ‡
Thelma E. Goldberg
Mrs. Béla T. Kalman
George Krupp
Mrs. Henrietta N. Meyer
Nathan R. Miller ‡
Richard P. Morse
David Mugar
Mary S. Newman
Vincent M. O’Reilly
William J. Poorvu
Peter C. Read
Edward I. Rudman
Richard A. Smith
Ray Stata
John Hoyt Stookey
Wilmer J. Thomas, Jr.
John L. Thorndike
Dr. Nicholas T. Zervas
other officers of the corporation
Mark Volpe
Managing Director
Thomas D. May
Chief Financial Officer
Suzanne Page
Clerk of the Board
‡ Deceased
List reflects membership from September 2012 through August 2013
34
Susan Bredhoff Cohen, Co-Chair
Peter Palandjian, Co-Chair
Noubar Afeyan
David Altshuler
Diane M. Austin
Lloyd Axelrod, M.D.
Judith W. Barr
Lucille M. Batal
Linda J.L. Becker
Paul Berz
James L. Bildner
Mark G. Borden
Partha Bose
Anne F. Brooke
Stephen H. Brown
Gregory E. Bulger
Joanne M. Burke
Ronald G. Casty
Richard E. Cavanagh
Dr. Lawrence H. Cohn
Charles L. Cooney
William Curry, M.D.
James C. Curvey
Gene D. Dahmen
Jonathan G. Davis
Paul F. Deninger
Michelle A. Dipp, M.D., Ph.D.
Dr. Ronald F. Dixon
Ronald M. Druker
Alan Dynner
Philip J. Edmundson
Ursula Ehret-Dichter
John P. Eustis II
Joseph F. Fallon
Judy Moss Feingold
Peter Fiedler
Steven S. Fischman
John F. Fish
Sanford Fisher
Jennifer Mugar Flaherty
Robert Gallery
Levi A. Garraway
Cora H. Ginsberg
Robert R. Glauber
Stuart Hirshfield
Susan Hockfield
Lawrence S. Horn
Jill Hornor
William W. Hunt
Valerie Hyman
Everett L. Jassy
Stephen J. Jerome
Darlene Luccio Jordan, Esq.
Paul L. Joskow
Stephen R. Karp
John L. Klinck, Jr.
Peter E. Lacaillade
Charles Larkin
Robert J. Lepofsky
Jay Marks
Jeffrey E. Marshall
Robert D. Matthews, Jr.
Maureen Miskovic
Robert Mnookin
Paul M. Montrone
Sandra O. Moose
Robert J. Morrissey
J. Keith Motley, Ph.D.
Cecile Higginson Murphy
Joseph J. O’Donnell
Joseph Patton
Ann M. Philbin
Wendy Philbrick
Claudio Pincus
Lina S. Plantilla, M.D.
Irene Pollin
Jonathan Poorvu
Dr. John Thomas Potts, Jr.
William F. Pounds
Claire Pryor
James M. Rabb, M.D.
John Reed
Robin S. Richman, M.D.
Dr. Carmichael Roberts
Susan Rothenberg
Joseph D. Roxe
Kenan Sahin
Malcolm S. Salter
Diana Scott
Donald L. Shapiro
Wendy Shattuck
Christopher Smallhorn
Michael B. Sporn, M.D.
Nicole Stata
Margery Steinberg
Patricia L. Tambone
Jean Tempel
Douglas Thomas
Mark D. Thompson
Albert Togut
Diana Osgood Tottenham
Joseph M. Tucci
Robert A. Vogt
David C. Weinstein
Dr. Christoph Westphal
James Westra
June K. Wu, M.D.
Patricia Plum Wylde
Dr. Michael Zinner
D. Brooks Zug
overseers emeriti
Helaine B. Allen
Marjorie Arons-Barron
Caroline Dwight Bain
Sandra Bakalar
George W. Berry
William T. Burgin
Mrs. Levin H. Campbell
Earle M. Chiles
Carol Feinberg Cohen
Mrs. James C. Collias
Ranny Cooper
Joan P. Curhan
Phyllis Curtin
Tamara P. Davis
Mrs. Miguel de Bragança
JoAnne Walton Dickinson
Phyllis Dohanian
Harriett Eckstein
George Elvin
Pamela D. Everhart
J. Richard Fennell
Lawrence K. Fish
Myrna H. Freedman
Mrs. James Garivaltis
Dr. Arthur Gelb
Robert P. Gittens
Jordan Golding
Mark R. Goldweitz
Michael Halperson
John Hamill
Deborah M. Hauser
Carol Henderson
Mrs. Richard D. Hill
Marilyn Brachman Hoffman ‡
Roger Hunt
Lola Jaffe
Martin S. Kaplan
Mrs. S. Charles Kasdon ‡
Mrs. Gordon F. Kingsley
Robert I. Kleinberg
David I. Kosowsky
Robert K. Kraft
Farla H. Krentzman
Benjamin H. Lacy
Mrs. William D. Larkin
Edwin N. London
Frederick H. Lovejoy, Jr.
Diane H. Lupean
Mrs. Harry L. Marks
Joseph B. Martin, M.D.
Joseph C. McNay
Albert Merck
Dr. Martin C. Mihm, Jr.
John A. Perkins
May H. Pierce
Dr. Tina Young Poussaint
Daphne Brooks Prout
Patrick J. Purcell
Robert E. Remis
John Ex Rodgers
Alan W. Rottenberg
Roger A. Saunders
Lynda Anne Schubert
Mrs. Carl Shapiro ‡
L. Scott Singleton
Gilda Slifka
Samuel Thorne
Paul M. Verrochi
Robert A. Wells ‡
Mrs. Joan D. Wheeler
Margaret Williams-DeCelles
Richard Wurtman, M.D.
‡ Deceased
35
Boston Symphony Orchestra 2012–13
first violins
Malcolm Lowe
Concertmaster
Charles Munch chair,
endowed in perpetuity
Catherine French*
Mary B. Saltonstall chair,
endowed in perpetuity
Jason Horowitz*
Kristin and Roger Servison chair
Tamara Smirnova
Associate Concertmaster
Helen Horner McIntyre chair,
endowed in perpetuity
Ala Jojatu*
Donald C. and Ruth Brooks Heath
chair, endowed in perpetuity
Alexander Velinzon°
Assistant Concertmaster
Robert L. Beal, Enid L., and
Bruce A. Beal chair,
endowed in perpetuity
second violins
Elita Kang
Assistant Concertmaster
Edward and Bertha C. Rose chair,
endowed in perpetuity
Julianne Lee
Acting Assistant Concertmaster
Bo Youp Hwang
John and Dorothy Wilson chair,
endowed in perpetuity
Lucia Lin
Dorothy Q. and David B. Arnold, Jr.,
chair, endowed in perpetuity
Ikuko Mizuno
Muriel C. Kasdon and
Marjorie C. Paley chair
Nancy Bracken*§
Ruth and Carl J. Shapiro chair,
endowed in perpetuity
Aza Raykhtsaum*
Theodore W. and Evelyn
Berenson Family chair
Bonnie Bewick*
Stephanie Morris Marryott and
Franklin J. Marryott chair
James Cooke*
Catherine and Paul Buttenwieser
chair
Victor Romanul*
Bessie Pappas chair
Haldan Martinson
Principal
Carl Schoenhof Family chair,
endowed in perpetuity
violas
Steven Ansell
Principal
Charles S. Dana chair,
endowed in perpetuity
Cathy Basrak
Assistant Principal
Anne Stoneman chair,
endowed in perpetuity
Edward Gazouleas°
Lois and Harlan Anderson chair,
endowed in perpetuity
Robert Barnes
Michael Zaretsky
(position vacant)
Assistant Principal
Charlotte and Irving W. Rabb chair,
endowed in perpetuity
Mark Ludwig*
Sheila Fiekowsky
Shirley and J. Richard Fennell
chair, endowed in perpetuity
Rebecca Gitter*
Rachel Fagerburg*
Kazuko Matsusaka*
Wesley Collins*
Nicole Monahan
Ronan Lefkowitz
cellos
Ronald Knudsen°
David H. and Edith C. Howie chair,
endowed in perpetuity
Jules Eskin
Principal
Philip R. Allen chair,
endowed in perpetuity
Vyacheslav Uritsky*
Jennie Shames*
Valeria Vilker Kuchment*
Tatiana Dimitriades*
Si-Jing Huang*
Wendy Putnam*
Robert Bradford Newman chair,
endowed in perpetuity
Xin Ding*
Glen Cherry*
Yuncong Zhang*
Martha Babcock
Assistant Principal
Vernon and Marion Alden chair,
endowed in perpetuity
Sato Knudsen
Mischa Nieland chair,
endowed in perpetuity
Mihail Jojatu
Sandra and David Bakalar chair
Owen Young*
John F. Cogan, Jr., and
Mary L. Cornille chair,
endowed in perpetuity
Mickey Katz*
Stephen and Dorothy Weber chair,
endowed in perpetuity
Alexandre Lecarme*
Nancy and Richard Lubin chair
Adam Esbensen*
Blaise Déjardin*
basses
Edwin Barker
Principal
Harold D. Hodgkinson chair,
endowed in perpetuity
Lawrence Wolfe
Assistant Principal
Maria Nistazos Stata chair,
endowed in perpetuity
Benjamin Levy
Leith Family chair,
endowed in perpetuity
Dennis Roy
Joseph and Jan Brett Hearne chair
Joseph Hearne
James Orleans*
Todd Seeber*
Eleanor L. and Levin H. Campbell
chair, endowed in perpetuity
John Stovall*
Thomas Van Dyck*
Jonathan Miller*
Richard C. and Ellen E. Paine
chair, endowed in perpetuity
flutes
bass clarinet
trumpets
harp
Elizabeth Rowe
Principal
Walter Piston chair,
endowed in perpetuity
Craig Nordstrom
Thomas Rolfs
Principal
Roger Louis Voisin chair,
endowed in perpetuity
Jessica Zhou
Nicholas and Thalia Zervas chair,
endowed in perpetuity by
Sophia and Bernard Gordon
Clint Foreman
Myra and Robert Kraft chair,
endowed in perpetuity
Elizabeth Ostling
Associate Principal
Marian Gray Lewis chair,
endowed in perpetuity
piccolo
Cynthia Meyers
Evelyn and C. Charles Marran
chair, endowed in perpetuity
oboes
John Ferrillo
Principal
Mildred B. Remis chair,
endowed in perpetuity
Mark McEwen
James and Tina Collias chair
Keisuke Wakao§
Assistant Principal
Farla and Harvey Chet Krentzman chair,
endowed in perpetuity
english horn
Robert Sheena
Beranek chair,
endowed in perpetuity
William R. Hudgins
Principal
Ann S.M. Banks chair,
endowed in perpetuity
seiji ozawa
music director
thomas wilkins
LaCroix Family Fund
Conductor Emeritus
endowed in perpetuity
Music Director Laureate
Ray and Maria Stata
Music Director
endowed in perpetuity
Germeshausen Youth and
Family Concerts Conductor
endowed in perpetuity
36
Wesley Collins, viola
Suzanne Nelsen
John D. and Vera M. MacDonald chair
Richard Ranti
Associate Principal
Diana Osgood Tottenham/
Hamilton Osgood chair,
endowed in perpetuity
Gregg Henegar
Helen Rand Thayer chair
horns
James Sommerville
Principal
Helen Sagoff Slosberg/
Edna S. Kalman chair,
endowed in perpetuity
Richard Sebring
Associate Principal
Margaret Andersen Congleton chair,
endowed in perpetuity
Rachel Childers
John P. II and Nancy S. Eustis chair,
endowed in perpetuity
Michael Winter
Elizabeth B. Storer chair,
endowed in perpetuity
Jason Snider
Jonathan Menkis
Jean-Noël and Mona N. Tariot chair
Thomas Martin
Associate Principal & E-flat clarinet
Stanton W. and Elisabeth K. Davis chair,
endowed in perpetuity
Thomas Van Dyck, bass
Michael Winter, third horn
Elizabeth B. Storer chair,
endowed in perpetuity
Thomas Siders
Assistant Principal
Kathryn H. and Edward M. Lupean chair
Michael Martin
Ford H. Cooper chair,
endowed in perpetuity
trombones
Toby Oft
Principal
J.P. and Mary B. Barger chair,
endowed in perpetuity
Stephen Lange
voice and chorus
John Oliver
Tanglewood Festival Chorus
Conductor
Alan J. and Suzanne W. Dworsky chair,
endowed in perpetuity
librarians
Marshall Burlingame
Principal
Lia and William Poorvu chair,
endowed in perpetuity
William Shisler
John Perkel
assistant conductors
bass trombone
James Markey
John Moors Cabot chair,
endowed in perpetuity
tuba
Mike Roylance
Principal
Margaret and William C. Rousseau chair,
endowed in perpetuity
timpani
Timothy Genis
Sylvia Shippen Wells chair,
endowed in perpetuity
Marcelo Lehninger
Anna E. Finnerty chair,
endowed in perpetuity
Andris Poga
personnel managers
Lynn G. Larsen
Bruce M. Creditor
Assistant Personnel Manager
stage manager
John Demick
* participating in a system
of rotated seating
§ on sabbatical leave
percussion
°on leave
Daniel Bauch
Assistant Timpanist
Mr. and Mrs. Edward H. Linde chair
Retiring In 2012–13
Matthew McKay, percussion
Benjamin Wright
J. William Hudgins
Peter and Anne Brooke chair,
endowed in perpetuity
Michael Wayne
New Orchestra Members 2012–13
Kyle Brightwell, percussion
Peter Andrew Lurie chair,
endowed in perpetuity
Richard Svoboda
Principal
Edward A. Taft chair,
endowed in perpetuity
contrabassoon
clarinets
bernard haitink
bassoons
Kyle Brightwell
Peter Andrew Lurie chair,
endowed in perpetuity
Matthew McKay
Ronald Knudsen, second violin
David H. and Edith C. Howie chair,
endowed in perpetuity
37
Tanglewood Festival Chorus 2012–13
John Oliver, Conductor
soprano
Deborah Abel
Carol Amaya
Emily Anderson
Margaret Batista
Michele Bergonzi #
Aimée Birnbaum
Joy Emerson Brewer
Alison M. Burns
Norma Caiazza
Jeni Lynn Cameron
Catherine C. Cave
Stephanie Chambers
Anna S. Choi
Lorenzee Cole #
Lisa Conant
Kelly Corcoran
Sarah Dorfman Daniello #
Emilia DiCola
Lisa DiGiusto
Christine Pacheco Duquette #
Ann M. Dwelley
Amal El-Shrafi
Sarah Evans
Adrianne Fedorchuk
Mary A. V. Feldman #
Margaret Felice
Erin Fink-Riesebieter
Katherine Barrett Foley
Kaila J. Frymire
Hailey Fuqua
Stefanie J. Gallegos
Diana Gamet
Karen Ginsburg
Bonnie Gleason
Jean Grace
Beth Grzegorzewski
Carrie Louise Hammond
Alexandra Harvey
Kathy Ho
Beth Ann Homoleski
Mikhaela E. Houston
Eileen Huang
Stephanie Janes
Anna Oppenheimer Jesus
Polina Dimitrova Kehayova
Carrie Kenney
Donna Kim
Sarah Kornfeld
Nancy Kurtz
Alison E. LaGarry
Leslie A. Leedberg
Barbara Abramoff Levy §
Farah Darliette Lewis
Suzanne Lis
Naomi Lopin Osborne
Nora Margaret Maynard
Sarah Mayo
Kristyn Snyer McKenna
Hannah McMeans
Ruthie Miller
Karen M. Morris
Kieran Murray
Kathleen O’Boyle
Heather O’Connor
Ebele Okpokwasili-Johnson
Jaylyn Olivo
38
Laurie Stewart Otten
Kimberly Pearson
Jodie Peterson
Reina Marielena Powell
Laura Stanfield Prichard
Livia M. Racz
Janet Ellen Ross
Jessica Rucinski
Adi Rule
Melanie Salisbury #
Laura C. Sanscartier
Johanna Schlegel
Pamela Schweppe #
Joan P. Sherman §
Anna D. Smith
Deborah Slade Pierce
Erin M. Smith
Judy Stafford
Stephanie Steele
Dana R. Sullivan
Robyn Tarantino
Sarah Telford
Nora Anne Watson
Alison L. Weaver
Sarah Wesley
Michelle Wilson
Lauren Woo
Bethany Worrell
Susan Glazer Yospin
Alison Zangari
alto
Virginia Bailey
Kristen S. Bell
Martha A. R. Bewick
Betty Blanchard Blume
Betsy Bobo
Lauren A. Boice
Donna J. Brezinski
Janet L. Buecker
Janet Casey
Cypriana Slosky Coelho
Sarah Cohan
Lauren Cree
Abbe Dalton Clark
Kathryn DerMarderosian
Diane Droste
Barbara Durham
Barbara Naidich Ehrmann
Paula Folkman #
Debra Swartz Foote
Dorrie Freedman *
Irene Gilbride #
Denise Glennon
Mara Goldberg
Lianne Goodwin
Lisa Sheppard Hadley
Rachel K. Hallenbeck
Jessica Hao
Julie Hausmann
Evelyn Hernandez
Diane Hoffman-Kim
Yuko Hori
Betty Jenkins
Irina Kareva
Susan L. Kendall
Evelyn Eshleman Kern #
Yoo-Kyung Kim
Boston Symphony Association of Volunteers
Executive Committee 2012–13
Eve Kornhauser
Annie Lee
Katherine Mallin Lilly
Gale Tolman Livingston #
Anne Forsyth Martín
Kristen McEntee
Louise-Marie Mennier
Ana Morel
Louise Morrish
Tracy Elissa Nadolny
Kendra Nutting
Fumiko Ohara #
Andrea Okerholm
Roslyn Pedlar #
Laurie R. Pessah
Linda Doreen Rapciak
Lori Salzman
Kathleen Hunkele Schardin
Jeanne Ann Sevigny
Elodie Simonis
Ada Park Snider *
Amy Spound
Julie Steinhilber #
Lelia Tenreyro-Viana
Mauri Tetreault
Michele C. Truhe
Martha F. Vedrine
Cindy M. Vredeveld
Christina Wallace Cooper
Sara Weaver
Marguerite Weidknecht
Lidiya Yankovskaya
tenor
Brad W. Amidon
Armen Babikyan
James Barnswell
John C. Barr #
Oliver Bäverstam
Richard A. Bissell #
Felix M. Caraballo
Ryan Casperson
Chad D. Chaffee
Jiahao Chen
Fredric Cheyette
Stephen Chrzan
Andrew Crain
Tomas Cruz
Sean Dillon
Tom Dinger
Kevin F. Doherty Jr.
Paul Dredge
Ron Efromson
Carey D. Erdman
Keith Erskine
David J. Fieldgate
Len Giambrone
James E. Gleason
Leon Grande
J. Stephen Groff #
David Halloran #
John W. Hickman #
William Hobbib
Stanley G. Hudson #
Matthew Jaquith
Timothy O. Jarrett
James R. Kauffman #
Jordan King
Michael Lapomardo
Kwan H. Lee
Michael Lemire
Lance Levine
Dane Lighthart
Henry Lussier §
John Vincent MacInnis *
Daniel Mahoney
Jeffrey L. Martin
Ronald J. Martin
Mark Mulligan
David Norris #
Lukas Papenfusscline
John R. Papirio
Kevin Parker
Dwight E. Porter *
Guy F. Pugh
Peter Pulsifer
David L. Raish #
Tom Regan
Brian R. Robinson
Francis Rogers
David Roth
Joshuah Rotz
Carl Schlaikjer
Blake Siskavich
Arend Sluis
Peter L. Smith
Stephen E. Smith
Don P. Sturdy
Leslie Tay
Stephen J. Twiraga
Adam Van der Sluis
Stratton Vitikos
Joseph Y. Wang
Andrew Wang
Hyun Yong Woo
bass
Tyler Alderson
Nicholas Altenbernd
Thomas Anderson
Vartan T. Babikyan
Scott Barton
Thaddeus Bell
Nathan Black
Daniel E. Brooks #
Nicholas A. Brown
Stephen J. Buck
Richard Bunbury
Paulo César Carminati
Matthew Collins
Matthew E. Crawford
Marc DeMille
Arthur M. Dunlap
Michel Epsztein
Dylan Evans
Jeff Foley
Mark Gianino
Alexander Goldberg
Jim Gordon
Jay S. Gregory #
Mark L. Haberman #
Jeramie D. Hammond
Geoffrey Herrmann
Robert Hicks
Michael Jo
Marc J. Kaufman
Kelby Khan
David M. Kilroy
David Kyuman Kim
Will Koffel
G.P. Paul Kowal
Bruce Kozuma
Carl Kraenzel
Timothy Lanagan #
Joseph E. Landry
Ryan M. Landry
Daniel Lichtenfeld
Nathan Lofton
David K. Lones #
Christopher T. Loschen
Martin F. Mahoney II
James Mangan
Lynd Matt
Patrick McGill
Devon Morin
Joshua H. Nannestad
Eryk P. Nielsen
Richard Oedel
Stephen H. Owades §
William Brian Parker
Sam Parkinson
Dale Peak
Donald R. Peck
Michael Prichard #
Bradley Putnam
Sebastian Rémi
Peter Rothstein *
Paulo Rouquayrol
Jonathan Saxton
Charles F. Schmidt
Karl Josef Schoellkopf
Daniel Schwartz
Kenneth D. Silber
Matthew Stansfield
Scott Street
Adam Strube
Joseph J. Tang
Craig A. Tata
Stephen Tinkham
Samuel Truesdell
Bradley Turner #
Jonathan VanderWoude
Thomas C. Wang #
Terry L. Ward
Peter J. Wender *
Lawson L.S. Wong
Matthew Wright
Carl T. Wrubel
Channing Yu
William Cutter, Rehearsal Conductor
Martin Amlin, Rehearsal Pianist
Matthew A. Larson, Rehearsal Pianist
Mark B. Rulison, Chorus Manager
Erik Johnson, Chorus Manager
Bridget L. Sawyer-Revels, Assistant Chorus Manager
§ membership of 40 years or more
* membership of 35–39 years
# membership of 25–34 years
Executive Committee
Charles W. Jack
Chair
Howard Arkans
Vice-Chair, Tanglewood
Audley H. Fuller
Secretary
Suzanne Baum
Co-Chair, Boston
Mary C. Gregorio
Co-Chair, Boston
Natalie Slater
Co-Chair, Boston
Judith Benjamin
Co-Chair, Tanglewood
Roberta Cohn
Co-Chair, Tanglewood
Martin Levine
Co-Chair, Tanglewood
Judy Slotnick
Usher Liason, Tanglewood
Stanley Feld
Glass House Liason, Tanglewood
About the Boston Symphony Association of Volunteers
The BSO has relied on the assistance of volunteers for decades,
but in 1984, a group of loyal and dedicated supporters of the
BSO and Tanglewood first joined forces to create the BSAV to
ensure that all aspects of the BSO’s many educational, service,
and fundraising initiatives were top-notch.
Members of the BSAV are instrumental in helping the BSO
carry out its musical mission. They diligently dedicate hours
upon hours to the behind-the-scenes elements for marquee
events such as A Company Christmas at Pops, Presidents at
Pops, and Opening Nights, to name just a few. BSAV members
also play a vital role in many BSO initiatives and programs,
such as the Instrument Playgrounds, flower decorating, exhibit
docents, and the BSO membership table—among others.
During the 2012–2013 season, some 660 volunteers donated
more than 24,000 hours of their time in passionate support
of the BSO. For nearly 30 years, the BSAV has been a valued
partner in helping the BSO maintain its legacy of musical
excellence and sustain its community and educational
engagement programs to spread the joy of music far and wide.
39
F O R A D D I T I O N A L I N F O R M AT I O N :
Annual Funds
617-638-9276
Corporate Events
617-638-9278
Corporate Partnerships
617-638-9279
Donor Relations
617-638-9251
Foundation and Government Relations
617-638-9202
Major and Planned Giving
617-638-9268
Development Events
617-638-9393
Subscription Office
617-266-7575
SymphonyCharge
617-266-1200
Symphony Hall Switchboard
617-266-1492
Volunteer Office
617-638-9390
B O STO N SYM P H O N Y O R C H E ST R A , I N C .
Symphony Hall
301 Massachusetts Avenue
Boston, MA 02115
bso.org
This fiscal year 2013 Annual Report was
published in February 2014 by the
Office of Development Communications.
Bart Reidy, Director of Development
Richard Subrizio, Director of Development Communications
Kevin Toler, Art Director
Cara Allen, Assistant Manager of Development Communications
Jennifer Johnston, Graphic Designer
Photography by: Edward Acker, Betsy Bassett, Marco Borggreve, John Ferrillo,
Tom Fitzsimmons, Charles Gauthier, John Gillooly, Tom Kates, Michael J. Lutch,
Paul Marotta, Stu Rosner, Hilary Scott, Hannah Shields, Peter Vanderwarker
For inquiries regarding information contained in this report,
please contact Diane Cataudella, Associate Director of Donor Relations,
at 617-638-9251 or [email protected]
© 2014 Boston Symphony Orchestra, Inc.
This annual report is printed on recycled paper.
40
41
mark volpe, eunice and julian cohen managing director
42

Download Report