New Yorks Classical Music Giants: Balancing Business and Art
In the New York classical music scene, giants paradoxically use the most business-oriented and political tools to preserve the purity of art. This approach has become their survival strategy, allowing them to build solid fortresses and endure.
On the 7th of this month, a cultural arts lecture program titled Arte Salon was held at the Korean Economic Newspaper office in Jungnim-dong, Seoul. The program featured Kim Dong-min, the music director of the New York Classical Players (NYCP), who spoke on the topic Surviving as a Musician in New York. Drawing from his 17 years of experience in the New York classical music scene, Kim summarized the survival laws of the classical business.
Kim, who founded the NYCP in 2010, has maintained a policy of offering all performances free of charge, driven by his belief that music belongs to everyone. He began his lecture by introducing the four giants who drive the New York classical scene. Peter Gelb, the general manager of the Metropolitan Opera, leads an organization that attracts over a million attendees annually. Despite controversies surrounding his imperial leadership, Gelb has proven his worth through overwhelming revenue. He has created a new revenue model by utilizing media to facilitate real-time theater screenings.
Former Kennedy Center President Michael Kaiser is referred to as a savior who turned around organizations on the brink of bankruptcy. He achieved success by advocating for significant investments during crises, promoting what he calls the cycle theory of art.
Kim also highlighted Clive Gillinson, the administrative and artistic director of Carnegie Hall, who transformed the venue from a rental-focused entity into a curation institution. Debora Borda, the former CEO of the New York Philharmonic, completed a renovation of the $800 million Geffen Hall and successfully recruited star conductor Gustavo Dudamel. Kim emphasized, These individuals were so fiercely business-friendly that, paradoxically, they managed to preserve the purity of art.
The discussion highlighted the intricate balance between business acumen and artistic integrity in the competitive landscape of New Yorks classical music industry. Through innovative strategies and strong leadership, these giants have not only survived but thrived, ensuring that classical music remains accessible and vibrant for all.
On the 7th of this month, a cultural arts lecture program titled Arte Salon was held at the Korean Economic Newspaper office in Jungnim-dong, Seoul. The program featured Kim Dong-min, the music director of the New York Classical Players (NYCP), who spoke on the topic Surviving as a Musician in New York. Drawing from his 17 years of experience in the New York classical music scene, Kim summarized the survival laws of the classical business.
Kim, who founded the NYCP in 2010, has maintained a policy of offering all performances free of charge, driven by his belief that music belongs to everyone. He began his lecture by introducing the four giants who drive the New York classical scene. Peter Gelb, the general manager of the Metropolitan Opera, leads an organization that attracts over a million attendees annually. Despite controversies surrounding his imperial leadership, Gelb has proven his worth through overwhelming revenue. He has created a new revenue model by utilizing media to facilitate real-time theater screenings.
Former Kennedy Center President Michael Kaiser is referred to as a savior who turned around organizations on the brink of bankruptcy. He achieved success by advocating for significant investments during crises, promoting what he calls the cycle theory of art.
Kim also highlighted Clive Gillinson, the administrative and artistic director of Carnegie Hall, who transformed the venue from a rental-focused entity into a curation institution. Debora Borda, the former CEO of the New York Philharmonic, completed a renovation of the $800 million Geffen Hall and successfully recruited star conductor Gustavo Dudamel. Kim emphasized, These individuals were so fiercely business-friendly that, paradoxically, they managed to preserve the purity of art.
The discussion highlighted the intricate balance between business acumen and artistic integrity in the competitive landscape of New Yorks classical music industry. Through innovative strategies and strong leadership, these giants have not only survived but thrived, ensuring that classical music remains accessible and vibrant for all.
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