New Chicago Symphony president faces multiple obstacles

CHICAGO -- As the newly appointed president of the Chicago Symphony Orchestra, Deborah Card knows that she's going to be under a very hot spotlight when she assumes the post Sept. 1.

She takes over one of the world's most celebrated orchestras at a time when classical music is facing serious financial challenges.

Card, 46, is credited with engineering a turnaround in the fortunes of the Seattle Symphony in her 11 years as its executive director. And in choosing her unanimously from a field of more than 100 candidates, it was clear that the CSO board of trustees expected Card to work the same magic again -- but on a much more prominent stage.

"Her extensive knowledge of classical and symphonic musical repertoire, her sound financial management skills, and her superb relationship with her musicians will serve us well," said William H. Strong, chairman of the board.

When she came to Seattle in 1992 after stints with the Los Angeles Chamber Orchestra and the Los Angeles Philharmonic, Card inherited an orchestra with a $2.5 million deficit and trouble making its biweekly payrolls. That orchestra credits Card with eliminating the debt and more than doubling its budget from $9 million in 1992 to $20.1 million this season.

Card also saw the Seattle orchestra's contributed income grow from $3 million annually to $7 million, while its subscribers increased from 17,000 to 40,000. The Seattle Symphony gave only 95 concerts in 1992, but has 220 scheduled for this year -- many of them in Benaroya Hall, the $159 million home Card spearheaded the campaign to build.

"Her effect on the Seattle Symphony has been amazing, and I am grateful for her partnership," said the symphony's music director, Gerard Schwarz.

When Card accepted the CSO post in early April, one Chicago newspaper went so far as compare her move to the Boeing Co.'s decision in 2001 to relocate its headquarters from Seattle to Chicago.

Turnaround of orchestra

"Oh, I don't think they're sobbing quite so loudly in Seattle this time," joked Card in a recent telephone interview. "Nonetheless, when I'm finally relocated in Chicago, I'll certainly be looking forward to seeing my old Boeing friends."

The aerospace giant has long been one of the largest corporate contributors to the Seattle Symphony and Card clearly hopes to renew her relationship with Boeing in her new post, but Boeing has been hit hard by the airline slump and recently posted a $478 million first quarter net loss. That may demonstrate some of the problems the new CSO president will face.

Card's turnaround of the Seattle orchestra occurred mainly during the boom years of the 1990s, when the CSO was also doing well financially. From 1985 to 2000, the CSO had only one deficit year. But since then, the picture has changed. In 2002, the CSO posted a deficit of $6.1 million on an annual budget of $59.6 million, one of the nation's largest. That came on top of a $2.1 million deficit in 2001.

Additionally, reflecting a national trend for all classical music performances except fully staged opera, ticket revenue at the CSO is down. The CSO projects attendance for this season's concerts at just 82 percent.

The orchestra says it has also been hurt by the steep drop-off in sales of classical music recordings, since recordings had long contributed to the orchestra's fame and income, particularly under the late music directors Fritz Reiner and Sir Georg Solti. The CSO says it has made more than 900 recordings and won 56 Grammy awards -- more than any other orchestra in the world.

Card also faces a potential problem in what could be particularly bitter musicians union negotiations next year.

In the telephone interview, she acknowledged that such negotiations can be difficult, but she declined further comment until she could learn the Chicago situation more thoroughly. She also said she was very eager to establish warm personal relations with the musicians.

'We love the work'

"After all," she said. "The only reason we work in this field is that we love the work they do."

Card played piano and violin through her childhood and college years, but said she had to give it up when she began working with professional musicians.

"I was only an amateur, and being around consummate professionals is just too overwhelming," she said. "Maybe I should take up painting, and then stay away from professional artists."

When she was interviewing for the Chicago post, Card had a number of one-on-one meetings with CSO music director Daniel Barenboim, and said she is confident that they can have a productive working relationship.

Part of the challenge in Chicago, she said, will be adjusting to a different orchestral culture.

"In the last few decades, the Seattle Symphony has become known for its individualistic spirit," she said. "It's an orchestra well known for its innovative programming, for performing the works of contemporary composers -- especially contemporary or recent Americans."

Card said such idiosyncratic Americans as Alan Hovhaness, David Diamond and Walter Piston became audience favorites in Seattle.

The CSO, on the other hand, was long a bastion of classical European -- particularly German -- works. Indeed, one music director, the late Jean Martinon, was run out of town in the 1960s by rebellious musicians and vindictive critics after he attempted to bring in a more modern and French-based repertoire.

"I think those days are over, though," said Card. "Barenboim has brought in a whole new set of directions, and I agree with them.

"And as for increasing the audience base, I think it's about really listening to what people will want to hear, and then giving it to them," she said.