CSO Strategic Plan 2021-2025

STRATEGIC PLAN

STRATEGIC

Introduction

Rebounding out of the pandemic, the Charlotte Symphony has a bold new vision to better serve the diverse communities of Charlotte-Mecklenburg and beyond.

Through an eight-month planning process involving the Charlotte Symphony Board of Directors, administrative staff, musicians, volunteers, and others, the Charlotte Symphony has developed this Strategic Plan — which focuses on seven essential areas of strategic focus — to serve as a road map for our future, pointing us towards a Charlotte Symphony that is enterprising and resilient. Each year the CSO will reevaluate its progress and set goals to bring us closer to our vision. Progress updates will be published regularly.

The Charlotte Symphony of 2025

Artistic vitality and growth will be evident in all that we do, from neighborhood concerts in public spaces to our flagship series Uptown; newcomers to Charlotte, hearing about the CSO and our musicians from enthusiastic neighbors, will see great performances on stage that reflect their new community; and we aspire, through our preeminent regional role, to be attracting national recognition and generating civic pride.

The CSO will be regarded as a regional leader in exceptional music enrichment and learning, through innovative programming that is accessible and valuable to all.

The CSO will be on such a strong financial footing that there are no questions over its short- and longterm health.

Innovation will be embedded in every part of the organization, and the CSO will have developed a reputation as one of the most innovative arts and cultural organizations in the region, and one of the most innovative symphonies of our size in the country.

The CSO will be known as an innovative, united, and diverse organization that reflects the community, embodying its core values, and recognizing and celebrating its employees as individuals while also emphasizing teamwork to accomplish its mission.

The Symphony will be relevant to its community and viewed as an integral and irreplaceable part of the artistic landscape of Charlotte by virtue of its excellent musical experiences, intentional cultural partnerships, deep community focus, and dedication to educating and engaging all generations of musicians and music lovers.

The Symphony will be well-known for “meeting people where they are,” our geographic reach will be greater, utilizing all media to extend our performing and educational impact beyond the immediate region, and, by programming and presenting the CSO with intentionality, we will have grown our audiences in every demographic segment, with special focus on breaking down barriers for those in currently under-represented communities.

Now is the Time

We stand here now at a moment of extraordinary opportunity. Charlotte is home to a diverse and growing population who deeply values the city’s arts and culture scene. As our community continues to grow and change, so too must the Charlotte Symphony. While we celebrate the Symphony’s 90 th anniversary season and the many contributions of Christopher Warren-Green in his final season as Music Director, we also look towards a future filled with potential.

It is with a spirit of hope and gratitude that we share this plan with you — our vision for what the Charlotte Symphony will be in 2025.

OUR MISSION

The Charlotte Symphony uplifts, entertains, and educates the diverse communities of Charlotte-Mecklenburg and beyond through exceptional musical experiences. OUR VISION

Reaching out through the transformative power of live music, the Charlotte Symphony will be a civic leader, reflecting and uniting our region.

Areas of Strategic Focus

Artistic Vitality & Growth Learning Financial Health & Sustainability Innovation Organizational Culture Public Relevance

Audience Development

Strategies to advance our commitment to Diversity, Equity, and Inclusion (DEI) are incorporated within each area.

Our Statement of Commitment to Diversity, Equity, & Inclusion

The Charlotte Symphony Orchestra is on a learning journey.

Music has the power to be a unifying force, bridging differences and bringing us together in the shared enjoyment of its beauty and emotion. In this way, The Charlotte Symphony aspires to be a civic leader but can only do so if we actively reflect our region and make sustained structural changes that embed diversity, equity, and inclusion in all we do.

We recognize the systems of inequity that have permeated American orchestras over many decades, as they have our society as a whole. These systems have created an environment where only some have felt welcome to enjoy and participate in symphonic music. Others have felt uncomfortable and excluded or encountered outright barriers to participation.

We, along with other orchestras throughout the country, share in the consequences. We are an orchestra that does not yet truly reflect the full and rich diversity of the communities of Charlotte-Mecklenburg: in who we are as an organization, in who we are onstage, and in what we do to be inclusive and welcoming to all.

We acknowledge that overcoming these systems of inequity and realizing our vision will require education, actively seeking input from the many communities in our region, a listening ear, and honest self-evaluation in order to implement lasting change.

We have begun this work and commit to sustaining it through the seven areas of focus in our Strategic Plan, which follows. As you read through it, you will find specific strategies and steps we will take to advance diversity, equity, and inclusion by addressing:

• Internal Culture

• Community Engagement

• Accessibility

• Recruitment and Retention

• Internal Education

• Internal and External Communication

• The Audience Experience

• Personal and Organizational Accountability

In addition, we will challenge ourselves to explore new ways of thinking as we do our work by continually asking:

What will we do differently to advance diversity, equity, and inclusion?

We will have in place a process and tools to internally monitor our progress. However, a critical measure of our success will be how we are perceived by our communities. To be publicly accountable and to encourage dialogue, click here to view periodic updates on the work underway and to give us feedback: charlottesymphony.org/strategic-plan

Artistic Vitality & Growth

Goal, by 2025: we intend for the CSO’s artistic vitality and growth to be evident in all that we do, from neighborhood concerts in public spaces to our flagship series Uptown; we want newcomers to Charlotte, hearing about the CSO and our musicians from enthusiastic neighbors, to see great performances on stage that reflect their new community; and we aspire, through our preeminent regional role, to be attracting national recognition and generating civic pride.

STRATEGIES

1. Use the CSO’s 90th Anniversary Season in 2021-22 as the banner to celebrate the artistic vitality and growth of the CSO through Christopher Warren-Green’s 12-year tenure as Music Director, pivoting to a continuing, fruitful relationship beyond 2022, as our Conductor Laureate and Music Adviser, leading special projects devised with him (e.g., student composition workshops with NC and SC universities).

2. Use the search for a new Music Director — applauding the diversity of talent and programming that is part of the process — as an opportunity to generate energy and excitement in the CSO’s future, and their appointment in or around 2024 as another milestone in building shared ownership and civic pride in the institution.

3. Empower the musicians’ Artistic Advisory Committee to act as a partner with the CSO’s management team in artistic planning, in such areas of artistic concern as venue selection, scheduling, repertoire choices, and the engagement of guest conductors and soloists, as well as in assessing the quality of our recordings.

4. Work with the Conductor Laureate/Music Adviser, Resident Conductor, and Artistic Committee on plans for new commissions, artists-in-residence, and new artistic collaborations through and beyond the transition to the new Music Director.

STRATEGIES

5. Build our mutually-beneficial artistic relationships with key partners such as Charlotte Ballet, Opera Carolina, and the Charlotte Master Chorale, while leaving room for new initiatives and collaborations to emerge and flourish.

6. As part of the CSO’s strategic focus on public relevance and audience development, showcase our musicians as ambassadors in the community, and as resources to further the CSO’s artistic vitality and growth through their individual creativity as well as their collective contributions (e.g., by engaging our musicians as soloists; and by providing opportunities for musicians to curate new initiatives).

7. Continually assess and develop the CSO’s ability to attract, recruit and retain key talent, with increased access for those historically underrepresented, including but not limited to greater ethnic diversity; and ensure an inclusive and supportive working environment, one that enables our musicians to flourish, as part of our commitment to sustaining a healthy organizational culture that is welcoming to all.

8. Recognizing that artistic vitality can be demonstrated on a small scale as well as large stage, use CSO chamber ensembles to expand our presence and visibility in all the neighborhoods of Charlotte, through programming that is designed with community participation and each unique audience in mind.

9. In pursuit of artistic excellence and the creation of memorable large-scale performances, devote sufficient resources to presenting world-class artists and great symphonic music to our Charlotte audiences.

Artistic Vitality & Growth

10. In all areas of programming, celebrate the rich diversity of music while making emotional connections to the audiences we seek to serve.

11. Commission and present new projects designed to raise the CSO’s artistic profile on a national and international stage (e.g., performing and recording new works; through broadcasting and streaming; and by select appearances in venues outside Charlotte, such as The Kennedy Center).

12. Build the CSO’s Music Library, protecting and preserving current collections, including our recordings, developing a program to digitize assets, and creating a plan for devoting sufficient new resources to advance artistic vitality and growth.

13. Develop a multi-faceted plan for our use of performance venues, from the facilities of the Blumenthal Performing Arts Center to key partnerships with other concert halls and new performance spaces in Mecklenburg County and the wider region, including South Carolina, ensuring that the CSO has affordable, ready access to high-quality acoustic spaces and a secure home base for the long term.

14. As part of the negotiations for a new Agreement with Local 342 of the American Federation of Musicians in 2022, address together those aspects of collective bargaining that impact artistic vitality and growth, including:

• Musicians’ salaries, employment conditions, and overall compensation

• Recruitment, retention, and consistency of personnel

• Performance weeks and the healthy artistic balance of the season.

Learning

Goal, by 2025: the CSO will be regarded as a regional leader in exceptional music enrichment and learning, through innovative programming that is accessible and valuable to all.

STRATEGIES

1. Continue to grow existing relationships with key partners (e.g., the Symphony Guild), and develop new partnerships throughout the Charlotte-Mecklenburg region.

2. Develop programming that creates a seamless continuum of experiences for learners of all ages (e.g., new pre-K initiatives; a third youth orchestra that builds a pathway for emerging area youth musicians — including Project Harmony graduates — to the Charlotte Symphony Youth Orchestra (CSYO) program; adult education; and CSO programs, e.g., sensory-friendly, for individuals with special needs).

3. Support the CSO’s commitment to DEI by featuring works by representative composers on CSYO and education concert programs; engaging guest artists and teachers reflective of our communities; and ensuring that programming is accessible and welcoming to participants of all backgrounds, e.g., especially: under-resourced students in Charlotte-Mecklenburg Schools.

4. Develop plans to allow for greater participation by CSO musicians in our Education and Community Engagement programs while also providing suitable opportunities for nonCSO artists to work with us.

STRATEGIES (continued)

5. As part of our key partnership with Charlotte-Mecklenburg Schools, continue efforts to establish full grade level field trips ensuring all students have the opportunity to experience a CSO education concert.

6. As part of our strategic focus on audience development, expand the use of digital production and distribution to reach a wider audience for our education programs.

7. Increase access for college students to attend CSO workshops, rehearsals, and concerts, as an extension of their classrooms, while developing unique partnerships with each local university to address their specific needs and interests.

8. Build our fundraising capacity to ensure the long-term financial security of educational initiatives, allowing for growth in both depth and reach through increased stability and affordability of programming.

9. Implement communication plans intentionally around CSO education initiatives and tell our story to the community — raising public awareness, and increasing both participation and support.

Financial Health & Sustainability

Goal, by 2025: CSO will be on such a strong financial footing that there are no questions over its short- and long-term health.

STRATEGIES

1. Fine-tune all internal financial management processes and structures.

2. Move to a rolling three-year financial plan, incorporating project budgeting for all programs.

3. Incorporating goals and objectives from the other areas of strategic focus in this Plan, create a balance of programmatic activity that maximizes revenues, including new opportunities for diversification.

4. Support the CSO’s commitment to DEI by ensuring that income and expenses for DEI and organizational culture initiatives are included in each annual operating budget.

5. Reach an amicable settlement for a new collective bargaining agreement with AFM Local 342, ahead of the scheduled deadline of August 2022, to bring clarity and stability to fixed expense projections through 2025 and beyond.

STRATEGIES

6. Replace $2m annual THRIVE funding through mix of additional earned revenue, enhanced corporate and foundation support, re-positioned local government contracts for services, fundraising events and, most significantly, a $20m-$30m capital campaign, starting in fall 2021.

7. Complete the capital campaign by 2025, to include short-term strategic funding, new endowment support, legacy commitments, and the establishment of a +/- $1.5m quasiendowment Fund for the Future, housed independently of the CSO.

8. Use the Fund for the Future, as needed, for ‘rainy day’ revenue replacement, R&D, and as a resource to guarantee a Line of Credit.

9. Monitor management of the new and existing endowment assets, to keep the CSO endowment on course to exceed $25m by 2025.

10. Aim to maintain a ready cash reserve of $1M and re-establish an ongoing $1.5m Line of Credit facility, to ensure healthy liquidity.

Innovation

Goal, by 2025: innovation will be embedded in every part of the organization, and the CSO will have developed a reputation as one of the most innovative arts and cultural organizations in the region, and one of the most innovative symphonies of our size in the country.

STRATEGIES

focusing equally on internal culture and external outputs:

Foster a culture of innovation by:

1. Creating an ‘innovation lab’, an ad hoc, multi-constituency standing group that meets monthly to provide a forum for voicing and exploring innovative and/or disruptive ideas, through continuing dialogue, including revisiting and reconsidering ideas that may have been tried before but which are thought worthy of reinvention.

2. Create clear internal mechanisms for ideas (or partial ideas) to be reviewed, in the interests of transparency, so that folks understand the criteria and methodology for approval.

3. Also, providing a mechanism for anonymous ideas to surface from anywhere in the organization, allowing individuals to find their own comfort level to make contributions.

4. Empowering staff and musicians with a sense of co-ownership of the CSO’s future, with CSO leadership providing ‘air cover’ for practicing innovation from the ground up, in how ideas are explored, tested and pursued.

5. Making excellent examples of good ideas in each year of the Plan, to show that action can happen, and ideas come to fruition; and celebrating success publicly as well as within the organization, whenever appropriate.

Organizational Culture

Goal, by 2025: the CSO will be known as an innovative, united and diverse organization that reflects the community, embodying its core values, and recognizing and celebrating its employees as individuals while also emphasizing teamwork to accomplish its mission.

STRATEGIES

1. In year one of the Plan, conduct a thorough organization-wide process to identify, agree, and adopt our core values.

2. Nurture an internal culture of diversity, equity, and inclusion that supports, connects, and values all employees and volunteers of the organization.

3. Develop and support an internal communications process to break down silos, acknowledging that we have multiple work environments, and ensure that everyone in the organization knows each other personally, honoring each other’s roles and interconnectivity, in order to foster trust, mutual respect, and collaboration.

4. Excel in communication, being as transparent as possible, encouraging all employees to have access to key information and feel included in the work of the CSO.

5. Consciously practice and assess our adherence to the core values to ensure that they are apparent in practice, whether to newcomers or to long-serving members of the organization, and part of everyday work life.

STRATEGIES

6. Foster a welcoming, progressive, and collaborative environment in which the organization encourages and listens to ideas from all employees, as it works towards achieving its mission and vision, attributing equal value to each employee’s input, regardless of position.

7. Provide accountability for both CSO as an organization as well as its leaders in demonstrating and sustaining our commitment to DEI.

8. Ensure that all leaders, employees and volunteers demonstrate an appropriate level of understanding and skill in DEI and antiracist practice, achieved through continual internal education.

9. Continually evaluate and maintain a Human Resources structure that demonstrates a commitment to DEI in all practice areas, including recruiting and retention, on boarding and off boarding, staff performance reviews, and internal practices and policies, so that the CSO will be known as an employer of choice.

10. Develop and build an organizational identity and brand that encompasses the CSO’s mission, vision, values, and personality to reflect what is special about the CSO.

11. Hold ourselves open to external influences that can inform, guide, and enhance our organizational culture.

Public Relevance

Goal, by 2025: the CSO will be viewed as an integral and irreplaceable part of the artistic landscape of Charlotte by virtue of its excellent musical experiences, intentional cultural partnerships, deep community focus, and dedication to educating and engaging all generations of musicians and music lovers.

STRATEGIES

1. Tell the story of the CSO in a way that connects the public to individual members of the Symphony family, so that they are recognized as positive contributors to community life, and helping to spread ‘word of mouth’ organically about our work.

2. Empower and encourage individual members of the Symphony family — musicians, staff, and volunteers — to show up as members of the CSO while participating in other organizations that promote support and promote civic life and community vitality (e.g., chambers of commerce, Rotary clubs, neighborhood associations, and other non-profits), so that the Symphony is seen as a leadership organization in our community.

3. Conduct institutional marketing and public relations campaigns that promote the CSO as a valuable asset to the City, the County, and the region, so that all our performances and programs are highly visible and well perceived.

4. Demonstrate adherence to the highest standards of non-profit governance, fiscal health, and organizational transparency, and so be viewed as a well-run, well-governed institution by local government, funders, and the media.

5. Share and promote our commitment to DEI in a way that informs and inspires both internal and external stakeholders, through communications that are appropriate and consistent with the CSO’s values and established guidelines.

STRATEGIES (continued)

6. Pursue a consistent approach to community engagement that prioritizes authenticity, respect, intentional listening, reciprocity, true collaboration, and attention to power dynamics.

7. Build an authentic and diverse set of community partnerships that lead, among other benefits, to invitations to the CSO to participate in local festivals and civic events.

8. Ensure that children and their families have easy access to CSO performances and programs, including students participating in Project Harmony and our Youth Orchestras, and through our partnership with CMS and other local districts in both North and South Carolina, to help remove barriers to participation, and strengthen the CSO’s reputation as a welcoming organization.

9. As part of our strategic focus on audience development, build civic pride in the CSO at a grass-roots level, so that, for example, local community leaders, government officials, and individual donors all feel good to talk about “our CSO.”

10. Conduct regular public opinion surveys — of non-attendees as well as current attendees — to learn how we can continue to improve our service and perceived public relevance, and to track our progress from one year to the next.

Audience Development

Goal, by 2025: the CSO will be well-known for “meeting people where they are:” our geographic reach will be greater, utilizing all media to extend our performing and educational impact beyond the immediate region, and, by programming and presenting the CSO with intentionality, we will have grown our audiences in every demographic segment, with special focus on breaking down barriers for those in currently under-represented communities.

STRATEGIES

1. Work with the City of Charlotte, Charlotte-Mecklenburg Schools, neighborhood associations, places of worship, and other community partners, to deepen our physical presence in all parts of the City, building relationships that will help everyone know us well and feel welcome at CSO performances.

2. Develop a network of community ambassadors that will help introduce us to the neighborhoods in which they live, help us engage in conversation, and act as advocates for the CSO in welcoming their friends and neighbors to our programs.

3. Work with Mecklenburg County, including the Department of Park and Recreation, to develop the CSO’s presence in the City’s outdoor spaces, and in venues in the towns of Cornelius, Davidson, Huntersville, Matthews, Mint Hill, and Pineville, building on our current partnerships with local presenters, and with partners such as the Arts & Science Council through the Culture Blocks program that currently brings CSO musicians into libraries, recreation centers, parks, and other community spaces. Ensure that we also focus on attracting citizens from across Mecklenburg County to our performances Uptown.

4. Devise plans that expand the CSO’s presence beyond Mecklenburg County into surrounding counties, including those in South Carolina, working with local presenters and other partners, including recently opened venues, to add value to local arts & cultural programs and complement existing activity.

STRATEGIES (continued)

5. Build on existing partnerships with WDAV, WFAE, and other local radio and TV stations, including those serving niche audiences, to expand the CSO’s broadcast presence.

6. Coming out of COVID, continue a select portfolio of streamed programming, designed for specific target audiences, that builds on what we have learned in maintaining an online presence for the CSO throughout the pandemic.

7. Complement our digital and broadcasting presence with a comprehensive set of marketing plans that include media serving unique and diverse audiences, to extend the footprint of general familiarity with the CSO and our performances, and underpin our commitment to attract and welcome new audiences.

8. Develop partnerships with Chambers of Commerce, Charlotte Center City Partners, Charlotte Regional Visitors Authority, Greater Charlotte Hospitality and Tourism Alliance, and other agencies that service and support cultural tourists, to welcome larger numbers of out-of-town guests to our performances.

9. Turn our website and social media platforms into more effective tools for engaging new and existing audiences with content that personalizes and enhances the concert experience.

10. Implement plans that enable us to build relationships with each key demographic segment (e.g., forming partnerships with young professional groups across Charlotte).

11. Take a data-driven approach to mapping progress in more effectively engaging our target audiences, and ensure that the evolution of our programming is informed by understanding our audiences’ needs and desires.

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Audience Development

the entire Charlotte-Mecklenburg community, the Charlotte Symphony strives to perform in venues around the region, not just in locations Uptown.

an effort to bring exceptional musical

map below illustrates the reach of the 11 venues that the CSO has performed in to date, two new venues that the CSO has already formed

with to perform in the future, and six potential venues that we have targeted as next steps.

of respect for our colleagues in the industry,

are cognizant of the following orchestras in the region and the spaces they serve: Asheville Symphony, Greensboro Symphony Orchestra, Hendersonville Symphony, Rock Hill Symphony, Salisbury Symphony, Western Piedmont Symphony, and Winston-Salem Symphony.

CSO Current & Potential Performance Venues

more details, view this map online at

FUTURE

POTENTIAL

For more details, view these maps online at

http://bit.ly/csoedmaps

Schools traveling to the CSO

The Charlotte Symphony prides itself on educational outreach. The map to the right shows the imprint of area schools that travel to see the CSO in its Uptown locations.

CSO traveling to schools

Represented here are the 9 counties the CSO reaches by taking performances directly into schools.

CSO in the Community

This map illustrates the reach the CSO has in performing at different community venues, including churches, recreation centers, breweries, and schools.

Organizational Overview

The Charlotte Symphony Orchestra (“Your CSO”) was founded in 1932, and is led by renowned Music Director Christopher Warren-Green whose tenure will culminate at the end of the 2021-22 season as he becomes Conductor Laureate and Music Adviser for the CSO. Warren-Green is the 11th Music Director in the Symphony’s history. The CSO is grateful for Maestro Warren-Green’s leadership over the past 12 years that he and his wife have invested in the community, especially for students across Mecklenburg County by helping to establish and grow Project Harmony, hosted in four partnering locations across the City of Charlotte.

The Charlotte Symphony is governed by a Board of Directors of 24 community and business leaders, led by Chair, Linda McFarland Farthing and Vice Chair, John Williams. The CSO’s Board of Trustees is comprised of more than 60 prominent supporters who, without governance responsibility, assist the Directors in their efforts to build and maintain the orchestra. Complementing the volunteer leadership structure of the CSO is the Symphony Guild of Charlotte, whose mission is to is to provide financial and volunteer support to the organization, and to further music appreciation and education. The CSO also enjoys a special relationship with the Charlotte Master Chorale, contributing spectacularly to the CSO’s presentation of great choral and orchestral works.

The 62 professional musicians employed by the CSO in the 2021-22 season are organized through Local 342 chapter of the American Federation of Musicians, joining in partnership with the 30 administrative staff to carry out the CSO’s mission. In addition to the Bank of America Classical Series, the Levine Pops Series, the Domtar Family Series, and the Movie Series, the CSO is proud to offer a myriad of programming throughout the Charlotte region and beyond.

EDUCATIONAL PROGRAMS

pre-kindergarten

El Sistema Pre-School

Family Series Pre-Concert Festival

Symphony Guild of Charlotte’s Musical Petting Zoo

k-12 school education concerts

Classroom Classics

LinkUp

“One Musical Family” Education Concert

small ensemble performances

Musical Storytelling

Music & the Holocaust

Prelude Ensembles

musicians as instructors Instrument Coaching Instrumental Music Initiative

Musician Informances university engagement

CSO On Campus Internships

Students InTune adult education Symphony 101

CSO YOUTH ORCHESTRAS

Project Harmony

Youth Ensemble

Youth Philharmonic Youth Orchestra

COMMUNITY EVENTS

Beatties Ford Strong

Bridging Musical Worlds

CSO Al Fresco

CSO On Tap

Summer Pops

Healing Hands

Pro-Am

Mill Village

Music For All

Sensory-Friendly Concerts

The Charlotte Symphony in 1932 - Guillermo de Roxlo, Music Director

Context

for the creation and adoption of the CSO’s new Strategic Plan

The 2025 Strategic Plan was created over an eightmonth period from October 2020 – May 2021. It was begun while COVID was still raging, and completed as most North Carolinians were becoming vaccinated. The CSO continued to perform, to live audiences outdoors and those online, throughout the pandemic. We have learned lessons about our capacity to produce high-quality digital offerings to complement our live performances; and will discover the extent to which there will remain audiences hungry for streamed performances once the pandemic has eased. In May 2021, subscriptions for the CSO’s 2021-22 Season went on sale, and we were allowed to resume performances to a live audience indoors for the first time. All this provides context for post-pandemic strategies, especially those under Artistic Vitality, Education, Audience Development and Innovation, which inform this Plan.

Another important contextual point of reference is the change in the arts funding landscape in Charlotte that was still settling as this Plan was being adopted. The outcome of the City of Charlotte’s decision to fund client organizations more directly, rather than through the Arts & Science Council, is still resonating. Most welcome is the news of a three-year match of City annual fund support by the private sector through the Foundation for the Carolinas. It remains to be seen how greatly the CSO may benefit as a grantee of the new $36m combined fund over the first three years covered by this Plan; and how the new funding stream will contribute to the CSO’s exit strategy from its $2m of annual THRIVE support. Also still to be clarified is the future role of the ASC, as an important partner in the arts and cultural community and as a conduit for financial support from Mecklenburg County.

We want to reinforce the importance of our commitment to diversity, equity, and inclusion in enabling the CSO to live up to our mission and in the hope of fulfilling our vision. Threaded throughout the seven areas of focus are strategies that, woven together, unite us in this commitment.

Finally, it will be noticed that the Plan includes Goals and Strategies but not more granular objectives and tactics. These will be devised and measured as the Plan is pursued, on an annual basis, and as we pace ourselves over the four years to its successful execution.

STRATEGIC PLAN

TIMELINE

• In-person audiences return to the concert hall beginning in September.

• Charlotte Symphony’s 90th Anniversary Season.

• Christopher Warren-Green’s final season as Music Director.

• Christopher James Lees begins new contract as Resident Conductor.

• Search for new Music Director begins, and first candidates appear.

• Third youth orchestra created, and other new strategic initiatives unveiled.

• 2½-year $20m+ Capital Campaign is launched in September, to create new short-term strategic, quasi-endowment and endowment funds; and to help replace THRIVE funding ($2m over 10 years, ended January 2021) through a combination of new earned, contributed and government revenues.

• Negotiations between CSO and Local 342 begin to agree a new CBA.

• Christopher Warren-Green becomes Conductor Laureate and Music Adviser.

• Negotiations between CSO and Local 342 for a new CBA aim to be complete before August 2022, in time for 2022-23 Season.

• Search for new Music Director fully underway, with up to 12 guest conductors.

• $20M+ Capital Campaign should be passing half-way mark.

• Search for new Music Director reaches its culmination, with the Board of Directors looking to make a decision whom to select at the beginning of 2024.

• Appointment of new Music Director expected to be announced concurrent with the release of the 2024-25 Season.

• $20m+ Capital Campaign should be complete around the end of 2023/24.

• New Music Director begins their inaugural season.

• Celebration of completion of Capital Campaign.

• David Fisk’s contract as President & CEO up for renewal.

• New Strategic Plan is created ready for the beginning of 2025-26.

Leadership & Thanks

Linda McFarland Farthing

Chairperson

Mick Ankrom

Treasurer

Ulrike Miles

Chair, Development Committee

Jenny Tolson

President,

The Symphony Guild of Charlotte, Inc

ADMINISTRATION

David Fisk

President & Chief Executive Officer

Maribeth Baker

Human Resources Counselor

Shayne Doty

Vice President of Development

Candace Sykes

Vice President of Marketing & Patron Experience

John D. Williams

Vice-Chairperson

Richard Krumdieck

Chair, Music Director Search Committee

Richard Osborne Chair, Board of Trustees

To Be Announced

Vice President of Artistic Operations & General Manager

Aram Kim Bryan

Vice President of Learning & Community Engagement

Wendy Laxton, (CREO, Inc.)

Fractional Vice President of Finance

Christopher Warren-Green

Conductor Laureate & Music Adviser Katie Ebert

Youth Philharmonic Co-Conductor

Christopher James Lees Resident Conductor & Youth Orchestra Conductor

Eric Thompson

Youth Philharmonic Co-Conductor & Youth Ensemble Conductor

MUSICIANS

ICSOM Delegate Bob Rydel Orchestra Committee Chair

Jon Kaplan

Kurt Riecken

Artistic Committee C0-Chair

Artistic Committee Co-Chair Kari Giles

Thanks & Acknowledgments

The Charlotte Symphony Orchestra would like to thank the following Strategic Planning Committee members, comprised of administrative staff, board members, and musicians, for their extraordinary ideation, visionary thinking and time invested to make the creation of this Strategic Plan possible:

Debbie Abels

John Clapp

David Fisk

Kari Giles

Yih-Han Ma

Taylor Marino

Alex Miles

Glenn Mincey (Chair)

Kirsten Morris

Kim Parker

Cory Rogers

Bob Rydel

Melinda Snyder

Candace Sykes

Kevin Walker

Shanté Williams

We should also like to thank the many other CSO musicians, staff members, Directors, and Trustees who participated in numerous working groups to develop the Goals and Strategies included in this document.

YOUR CHARLOTTE SYMPHONY

Christopher Warren-Green, Conductor

Laureate & Music Adviser

Christopher James Lees, Resident Conductor

FIRST VIOLINS

Calin Ovidiu Lupanu

Concertmaster

The Catherine & Wilton Connor Chair

Joseph Meyer Associate Concertmaster

Kari Giles

Assistant Concertmaster

Ernest Pereira°*

Susan Blumberg°°

Jane Hart Brendle

Emily Chatham°°

Ayako Gamo Jenny Topilow°°

Dustin Wilkes-Kim Hanna Zhdan

SECOND VIOLINS

Oliver Kot Principal

The Wolfgang Roth Chair

Kathleen Jarrell Assistant Principal

The Pepsi-Cola Foundation of Charlotte Chair

Carlos Tarazona°

Monica Boboc Tatiana Karpova Ellyn Stuart

Martha Geissler

Sakira Harley

VIOLAS

Benjamin Geller Principal

The Zoe Bunten Merrill Principal Viola Chair

Alaina Rea

Assistant Principal Ellen Ferdon Cynthia Frank Nancy Marsh Levine Viara Stefanova Ning Zhao

CELLOS

Jonathan Lewis Principal

The Kate Whitner McKay Principal Cello Chair

Marlene Ballena

Acting Assistant Principal Alan Black Principal Emeritus Jeremy Lamb Sarah Markle

DOUBLE BASSES

Kurt Riecken Principal Judson Baines

Assistant Principal

Jeffrey Ferdon Jason McNeel

HARP

Andrea Mumm Trammell Principal

The Dr. Billy Graham Chair

FLUTES

Victor Wang Principal

The Blumenthal Foundation Chair Amy Orsinger Whitehead Erinn Frechette

PICCOLO

Erinn Frechette

OBOES

Hollis Ulaky Principal

The Leo B. Driehuys Chair ‡ Erica Cice Terry Maskin

ENGLISH HORN Terry Maskin

CLARINETS

Taylor Marino Principal

The Gary H. & Carolyn M. Bechtel Chair

Samuel Sparrow Allan Rosenfeld

E♭ CLARINET

Samuel Sparrow

BASS CLARINET

Allan Rosenfeld

BASSOONS

Joshua Hood

Acting Principal Naho Zhu †

CONTRABASSOON Naho Zhu †

HORNS

Byron Johns Principal

The Mr. & Mrs. William H. Van Every Chair Andrew Fierova

Robert Rydel

Richard Goldfaden Philip Brindise†

TRUMPETS

Alex Wilborn Principal

The Betty J. Livingstone Chair

Jonathan Kaplan

Gabriel Slesinger

Associate Principal

The Marcus T. Hickman Chair

TROMBONES

John Bartlett

Principal Thomas Burge

BASS TROMBONE

Scott Hartman

Principal

TUBA Colin Benton

Principal

The Governor James G. Martin Chair

TIMPANI

Rose Lipham Principal

The Robert Haywood Morrison Chair

PERCUSSION

Brice Burton Principal

° Non-revolving position

°° Alternates between first and second violins

† Acting member of the Charlotte Symphony

‡

Funded by The Symphony Guild of Charlotte, Inc.

* On leave

This roster lists the full-time members of the Charlotte Symphony. The number and seating of musicians onstage varies depending on the piece being performed.

BOARD OF DIRECTORS

Linda McFarland Farthing

Chair

John D. Williams

Vice Chairperson

Mick Ankrom

Treasurer

David J. L. Fisk

President & CEO

Melissa Anderson

Thomas Burge* Mike Butterworth Nick Clements Catherine Connor Mary Delk* Denise DeMaio Richard Krumdieck Yih-Han Ma

22-23 BOARD OF TRUSTEES

Richard Osborne, Chair

Ruth & Richard Ault Kat Belk

Arlene & Milton Berkman Jason & Tiffany Bernd Frank Bragg

Robin & Bill Branstrom

Derick & Sallie Close Robin Cochran

Jeanie & T. Thomas Cottingham III

ADMINISTRATION

EXECUTIVE

David J. L. Fisk

President & CEO

Samantha Hackett

Executive Administrator

ARTISTIC OPERATIONS

Carrie Graham

Director of Artistic Planning

Tim Pappas

Acting Director of Operations

Nixon Bustos Principal Music Librarian

Bradley Geneser Orchestra Personnel Manager & Assistant Librarian

Erin Eady Operations Coordinator John Jarrell Stage Manager

Alex McKinnon

Ulrike W. Miles Glenn Mincey Torsten Pilz

Ylida Roberson

Robert Rydel* Melinda Snyder Jennifer Sullivan Jenny Tolson*

Kevin Walker

Shanté Williams, PhD

Brian Cromwell Alessandra & Pasquale De Martino Alvaro & Donna de Molina Peggy & Richard Dreher Lisa Hudson Evans David Furr Todd Gorelick Janet Haack Mark & Whitney Jerrell Jeff Lee

Gov. James G. Martin Jane & Hugh McColl Susan McKeithen Elizabeth J. McLaughlin George McLendon Patrick J. O’Leary Debbie & G. Patrick Phillips Paul Reichs Nancy & Charles Robson Patricia A. Rodgers M.A. Rogers

Dan & Sara Garces Roselli

Katrina & JD Schurter Carolyn Shaw Tom Skains Emily & Zach Smith Bob & Marsha Stickler Cynthia Tyson Braxton Winston Richard Worf Albert Zue

DEVELOPMENT

Shayne Doty Vice President of Development Leslie Antoniel Director of Donor Engagement

Amanda LoCascio Director of Corporate Engagement

Libby Currier Annual Fund Manager Tammy Matula Database Manager

Jennifer Gherardi Campaign Coordinator Senta Harvey Annua Fund & Sponsorships Associate

HUMAN RESOURCES

Maribeth Baker (Catapult) Human Resources Counselor

Amy Hine Office Administrator

LEARNING & COMMUNITY ENGAGEMENT

Aram Kim Bryan

Vice President of Learning & Community Engagement Emily Gordon Project Harmony Manager Dylan Lloyd Youth Orchestras Manager

Peyton Wulff

Learning Manager

Jirah Montgomery Youth Orchestras Assistant

FINANCE

Wendy Laxton (CREO, Inc.)

Fractional Vice President of Finance

Chazin & Company Financial Services

MARKETING

Candace Sykes Vice President of Marketing & Patron Experience

Deirdre Roddin

Director of Institutional Marketing & Communications Nicole Glaza

Senior Manager of Digital Marketing Chad Calvert Visual Communications Manager

Laura Thomas Marketing Manager

Meghan Starr Patron Communications Manager

Zachary Nagel Ticket Services Manager