editorial license

Doubtless, many of you have seen (care of ArtsJournal.com and other online sources) the latest Portland Business Journal article about the imminent death of the Oregon Symphony.  Well, the OSO is hardly dying, and to paraphrase an old saw, the reports of our demise are greatly exaggerated.

Most publications have editors that, among other things, write the headlines for their featured stories.  In this case, they could have very accurately written something like “Oregon Symphony Pulling Back from the Brink”, which would put a positive spin on the story (which seemed hastily written and omitted a number of key facts), and more accurately portray what, in fact, is happening at the Oregon Symphony.

But, as David Stabler observed today over at his blog, the view that the sky is falling sells more papers, or gets more eyeballs on web pages, than saying things aren’t great, but they’re getting better.

But beyond the inaccuracies, my objection to the story is its alarmist tone. It’s not news that symphony orchestras are financially challenged. What is news is how they’re coping in this horrible economic climate. We won’t know much until something like a major donor backs out. Or ticket sales slow. Or a foundation turns down a grant.

I’m quite frankly tired of the “if it bleeds, it leads” media mentality, even from such typically non-sensationalist sources as the Portland Business Journal.  I’d love to know what motivated the article, the stance that it took on the issues facing the orchestra, and who, if anyone, still has an axe to grind against the Oregon Symphony’s board and leadership.  Editors don’t just wake up one morning and say to themselves, “hey, I think we need to do a piece on the imminent death of the largest arts organization in our city”, without some sort of prompting.  Maybe I’m just being a bit on the conspiracy theory end of the spectrum with this, but there seem to be some sour grapes somewhere that are keeping the trickle of negative press on the Oregon Symphony.

Here’s a response prepared by OSO President Elaine Calder and OSO Board President Walter Weyler, which will be mailed out to all major donors next Monday:

“Over the course of the past twelve months we have:
 
Reduced our overhead expenses by another 3.2% – so that we spent $1 million less on administrative, artistic and interest expenses than we did only two years ago;
 
Been awarded a $1 million unconditional grant from the Miller Foundation as well as major, two-year grants from the Murdock Trust and the Ford Family Foundation;
 
Received $2.1 in annual fund support from 26 members of our Sustainability Campaign – in total, $1 million more than they gave in the previous year;
 
Increased our income from performances by almost 19% and achieved a 40% improvement to our concert net income;
 
Reduced our operating loss on the season to less than $600,000 – an overall improvement of more than $1 million dollars.
 
“In addition,
 
Paid attendance at our Arlene Schnitzer Concert Hall performances has increased from 54% in 2006/07 to 62% in 2007/08;
 
Music Director Carlos Kalmar’s contract has been extended through June 2013, in recognition of the tremendous improvement he has made to the quality of our orchestral concerts;
 
Four distinguished members of our community have been recruited to our board:  William Early, Richard Geary, Renée Holzman and Karl Smith;
 
Prudent management by the Oregon Symphony Foundation board, the Oregon Community Foundation and professional advisors has largely protected the $26 million we hold in endowment and board restricted funds through a period of stock market instability; and
 
The Oregon Symphony Association in Salem reports increased sales and improved financial results as well, in part because of a closer co-operation between our two managements.
 
“We are very aware that a one-year improvement does not constitute a trend, and that some of the easiest and most obvious decisions have now been taken.  And we have not yet come close to breaking even.  Next year and in succeeding seasons it will be harder to achieve such significant improvements.  Controlling our overhead expenses will always be difficult, especially as these figures include our musicians who have long been under-compensated in comparison with orchestras elsewhere in the country, and who are now facing higher costs of living in this community.  Sustaining our current annual fund levels in a shrinking economy is also a challenge.  However, we believe that if we continue to program carefully, listen to our audiences and manage our inventory wisely, we can gradually refill many of the currently-empty seats at the Schnitz.  And we must retain the confidence of our Sustainability Campaign donors and give thought to our endowment fund – the long-term solution to a big part of our structural deficit.”