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Cincinnati Chamber Orchestra Ushers in a New Era

Laura A. Hobson
Posted: Jun 8, 2014 - 12:00:49 PM in news_2014

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Mischa Santora and Sarah Coburn
A new era breaks the dawn at the Cincinnati Chamber Orchestra, a small but vibrant musical organization founded in 1974, with its opening as a professional music institution two years later. With the departure of Mischa Santora, music director since 2001, at a final concert performed by Sarah Coburn, soprano, on June 1, and the elimination of the position of executive director, Thomas Mariner, in March, 2014 due to budgetary constraints, the CCO is positioned to bring in a new music director as well as usher in a reconstructed season of musical offerings.

Board of Trustees chair Jennifer Funk, 47, of Loveland, said committees are hard at work determining the desired attributes of the new music director. One suggestion is that he/she live in Cincinnati during the performance season. Chaired by Wes Needham, a music director search committee composed of musicians and board members is compiling a list of desired skill sets now and will be actively reviewing applications in a national search.

Another group has determined what the new season will look like, e.g., the number of performances, the programming, the timing and the location. A board member has drawn up a survey to help in this area. Under consideration for the 2014-2015 season is Gian Carlo Menotti’s “Amahl and the Night Visitors” for December 2014.

This summer, CCO is partnering with Cincinnati Parks to present a new series held at Burnet Woods the first Thursday of every month. The schedule includes June 5, “Passport to Europe” with the CCO string quartet (bandstand); July 3, “American Salute” with the CCO brass quintet (lake) and August 7 “Brass and Brats” with the CCO brass quintet (bandstand). Concerts are free and open to the public. Opening acts precede the main performances at 8 p.m. 

Beginning with August, 2015, CCO will change its season structure to a four-week festival format. The CCO will continue to present concerts that showcase innovative approaches in programming, including partnerships with other arts organizations such as the Vocal Arts Ensemble and Madcap Puppets. Those concerts have received consistent critical acclaim and an enthusiastic audience response.However, there is evidence from around the country that a more significant format change can generate excitement and attract new attendees and supporters, while continuing to maintain strong appeal with current patrons.

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Cincinnati Chamber Orchestra board chair Jennifer Funk
“This new approach will offer many advantages and we are working closely with our valued partners, the musicians. We are excited about the new format, and it will provide us the opportunity to focus all of our efforts in creating concerts that bring our audience the very best in chamber music, in a new and exciting way,” said Funk.

With a limited budget of $500,000, Funk prefers that the CCO use local musicians as headliners, as opposed to bringing in name performers to help keep costs under control. While the CCO has performed at a variety of locations, the Mayerson Theater at the School for the Creative and Performing Arts remains a favorite. Places are under consideration for 2014-2015.

A single mother with two children Olivia, 10 and Vaughn, 7, Funk said her children often accompany her to the concerts and help pass out the programs, which patrons enjoy. She met arts supporter Rosemary Schlachter several years ago when CCO was looking for members of the board. Schlachter encouraged her to serve; Funk did so for four years working on many committees, such as the Executive Committee. In July 2013, she assumed the presidency of the Board for two years. In her role, she has talked to donors and board members about the future. It seemed as though things hadn’t been working, and it was time for a change. As a result, a new direction is in the offing.

As with many other nonprofits, money is an issue, according to Funk. Concerts grew from four to six under previous executive director Thomas Mariner’s helm. Although there is a Development Committee at the CCO, the organization is not looking at replacing the executive director position at this time.

A small staff of two people: Ralf Ehrhardt, Business and Development Manager, and LeAnne Anklan, Artistic and Orchestra Operations Manager, provide support to the CCO along with 32 union musicians and an active board composed of approximately 20 business and arts leaders, as well as musicians. CCO partners with the Vocal Arts Ensemble, Madcap Puppets, Cincinnati Ballet, The Carnegie, Mercantile Library and Constella Festival of Music and Fine Arts in addition to ArtsWave and the Ohio Arts Council. A major sponsor is the Louis and Louise Nippert Charitable Foundation ($10,000+). Season sponsors (2013 – 2014) for theCincinnatiChamber Orchestra are Robert and Debra Chavez.

Over the course of its history, the CCO has seen several distinguished music directors, such as Paul Nadler (1974-84), Gerhard Samuel (1984 – 91), Keith Lockhart (1992-2000), who went on to become conductor of the Boston Pops in 1995, followed by Mischa Santora, (2000-14), a graduate of the Curtis Institute of Music at age 28. A resident of Minneapolis, Santora served the CCO for 14 years before he decided to return home with increasing music responsibilities there, as well as a new wife and child.

Other highlights of the CCO have included world premieres by Phillip Koplow, Frank Proto and Allen Sapp, concerts by cellists Peter Wiley and Lynn Harrell, pianist Emanuel Ax, saxophonist Rick VanMatre, and Metropolitan Opera star Benita Valente. Also, the CCO made its New York City debut in Town Hall in 1997. The CCO has performed in 31 venues over the years, including the Playhouse in the Park, Memorial Hall, Emery Auditorium, School for the Creative and Performing Arts and Northern Kentucky University.

Although the main fare of the CCO is baroque and classical chamber music by such composers as Mozart, Bach, Haydn and Beethoven, occasionally it offers more modern fare, iincluding commissioned works by contemporary composers. It has also produced 11 operas, large-scale choral works such as Verdi’s Requiem and newer pieces.

Contributions of the CCO have been noted by the Pinnacle Award, which recognizes persons whose generous contributions have had major impact on the Cincinnati arts scene. Recipients include Norma Petersen (2007), Keith Lockhart (2010), and David Herriman (2013). In 2013, the Rising Star Award, which honors the next generation of arts supporters in Cincinnati, included Ainsley Kellar (2013). The CCO won the Scripps-Corbett Award for Artistic Excellence in 2009.

Musicians, who often also play in the Dayton Symphony Orchestra, the Kentucky Symphony Orchestra or the Cincinnati Symphony Orchestra, audition for positions in the CCO. After four performances, they are tenured. Chamber music often calls for 20 – 30 performers; the CCO comes in at 32. Some of the performers have been with the organization for more than ten years, lending some stability and loyalty to the CCO. They have embraced many of the changes, according to Funk, and have volunteered for some of the committees impacting the future of the organization.

Another change will be a new concertmaster. At this time, there is an interim concertmaster Amy Kiradjieff, currently on maternity leave, who will remain in that position until the new music director is appointed. An additional possibility is that the CCO, like the CSO, will have guest conductors for one year.

Funk’s full-time job is as a financial advisor at Merrill Lynch, where she has been since 2011. She has followed a financial career for a long time and doesn’t look to change roles or companies any time soon. “I don’t have to worry about being laid off; everyone needs a financial advisor. I just will build my own business,” said Funk.

In addition to her job and her role on the CCO Board, she is a member of the boards of Llanfair Retirement Community and Living Arrangements for the Developmentally Disabled (LADD). But that is enough, she said. A graduate with a BA in economics in 1994 from California State Fullerton, she received her MBA in finance from California State Long Beach. The first in her family to go to college, she financed herself through college.

Outside of these activities, Funk has little spare time. But she makes an effort with her children: she is den leader for her son’s Cub Scout pack. With her community commitments, “I want my kids to understand giving back,” she said. One unusual group she belongs to is Dry Dredgers, the oldest fossil hunting club in the United States, sponsored by the University of Cincinnati. She often joins the group to hunt for fossils.

From Mozart to rocks, Funk has found her niche in Cincinnati, where she contributes with considerable effort. She is intent on making a difference in people’s lives, whether it is attendees at the CCO or her children’s understanding of community music. For further information, visit www.ccocincinnati.org