Reborn Symphony

The silence of the canceled 1987 San Diego Symphony season was anything but golden. It was shock therapy. But the radical intervention seems to have paid off. Slowly, the symphony appears to be building a healthy new foundation.

The symphony just finished its second winter season since the shutdown. Overall attendance is up. The number of winter concerts has increased to 57, although it is still way below the overly ambitious 85 given in the 1986 winter season.

A new music director, Yoav Talmi, has finally been hired. All but three seats in the 81-musician orchestra are filled, which is especially noteworthy given that salaries are very low here. And relations between musicians and management have improved markedly since the 1986 lockout.

Fund-raising results are also up. At this time last year, the symphony had raised $1.6 million. This year it has raised $2.2 million.

The reborn symphony ended its first year in the black, although that required a year-end fund-raising blitz, and it expects to balance this year’s budget. This is in sharp contrast to the 10 years of deficit spending that preceded the collapse.

The fiscal progress has meant tight belts--this year’s $6.5-million budget is the same as that announced after drastic cutbacks for the 1986-87 season. It has also meant higher ticket prices and targeted marketing rather than grand promotions.

But the comeback also has been achieved through what some critics complain are hackneyed offerings. The successes have come at a “Classical Hits” series and a series where the symphony accompanies vintage silent films, rather than at the core classical concerts.

Next year’s season promises to be more challenging musically, with more 20th-Century compositions and an impressive array of Soviet music as part of the Soviet Arts Festival. And Talmi starts full time the following season.

The achievements of the last two years have been remarkable. But significant challenges lie ahead.

A $3.6-million capital debt remains. It was due this year, and the symphony is negotiating new payment arrangements. The critical position of fund-raising director has been open since January. And the musicians’ contract expires this fall.

But there seems to be a growing reservoir of good will, both among musicians and the community, something which was squandered during the downfall. If this is maintained and nurtured through forthright and careful management, and cooperation and realism among the musicians, those challenges should be surmountable.