The Phoenix Symphony is excited to announce we are upgrading to a new, easy-to-use ticketing system. During this transition, our TICKETING SYSTEM IS DOWN September 11, 12, 13, and 14. Our new ticketing system will be live on September 15. Sorry for any inconvenience. Feel free to browse our performances in the meantime.

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AZ Central: How CEO Jim Ward turned around Phoenix Symphony

How did you turn aroung a struggling Phoenix Symphony?

First, by creating transparency, which led to trust. Second, by insisting on running a non-profit like a business.

Through transparency, we had to rebuild a relationship with our musicians, who then had the trust to make financial sacrifices to provide us with the runway for the turn around. We had to do the same with our patrons, donors and the community at large.

Then we had to convert trust into strategic business decisions that have stabilized the organization and turned a structural deficit into a surplus.

You’ve collaborated with the opera and ballet. Is that rare?

Yes, it’s rare. We’ve been able to break down institutional silos and come together and take beginning collaborative steps. We have held two joint galas, both artistic and financial successes.

We have been able to capitalize on a previous investment by the Symphony in a back office software system to form a consortium where the Symphony is the master license holder and Ballet Arizona and Arizona Opera are sub-licensees. And we are exploring other back office types of activities.

What benefits flow from the collaboration?

Our business models are fragile at best. Through working together we have begun to reduce our duplicative administrative costs and mitigate risk, which ultimately provides more funds for the art form itself.

But there is still great opportunity for the arts, in a larger sense, to embrace collaboration so that as a whole these institutions can move away from the cycle of fiscal cliffs to a long-term sustainable model. We just need to have the courage to embrace the many opportunities that exist, run our organizations like businesses and be eager to explore models that will ensure a thriving cultural economy in the long run.

Arizona’s cultural economy is dependent on our arts organizations being willing to embrace a new collaborative model, setting aside old institutional intractability along the way.

Tito Muñoz was named the new music director. Why did he stand out?

First he inspired our musicians artistically. There was real chemistry.

Second, he shares our passion and values around being the arts leader in the revitalization of Arizona and educating the next generation of a creative work force. Finally, he represents a new generation of musicians who understand that music can be inclusive and galvanizing for a community, and he’s eager to help us forge what a 21st century symphony should be.

Should we expect changes in the repertoire?

Tito will bring us fresh new talent, as he is already doing next season, along with new works. Yet he will celebrate the classical repertoire and expand our work to be more accessible as well.

What is the symphony’s strategy for attracting a younger audience?

Our strategy is to plant the seeds early in the life of students through our various outreach programs, which reach 110,000 children and families each year. Then it’s to evolve our programming so it is consistent with the audio and visual consumption patterns of this entirely new generation.

What’s your favorite piece?

I’m a pianist, so I love orchestral concerti. My favorite would have to be Rachmaninoff’s Third Piano Concerto in D Minor.

 

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