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opinion should be addressed at all times. There are certain places and
times for certain things to be said. The appropriate moment. Everybody
knows what’s wrong, everybody can feel what’s wrong. But do you have a
solution? Do you know how to solve a problem?”
4. Perfecting the Product. Just before each concert, a couple of members take
seats in the hall to listen to the performance from the audience’s perspective.
Then they report to the full ensemble and may suggest some final
adjustments.
5. Delivering the Product. The final performance is the ultimate result of the
Orpheus Process, but it isn’t the last step. When the concert is over, mem-
bers get together to share their impressions of the performance and make
suggestions for even further refinements.
“If you ask any musician in the orchestra why they love playing with Orpheus,”
says Parker, “it’s because they feel empowered. They don’t have anyone telling
them what to do. They walk into the rehearsal hall and it’s their opportunity to
influence [and] shape music, to make music with all their experience, all their
training coming together.” Ask double-bass player Don Palma, for instance.
Palma took a sabbatical after one year with Orpheus to play with the Los
Angeles Philharmonic. “I just hated it,” he says. “I didn’t like to be told what to
do all the time, being treated like I wasn’t really worth anything other than to be
a good soldier and just sit there and do as I was told. I felt powerless to affect
things … . I felt frustrated, and there was nothing I could … do to help make things
better.” By contrast, says Palma, “Orpheus keeps me involved. I have some
measure of participation in the direction the music is going to take. I think that’s
why a lot of us have stayed involved so long.”
In most orchestras, the conductor makes more or less autocratic decisions
about what will be played and how. The input of musicians is neither sought nor
welcomed, and unsolicited advice may be sharply rebuffed—and may, in fact,
serve as grounds for dismissal. At Orpheus, says Parker, “we have a completely
different structure to the way we approach rehearsal”: A core team of players
selected by the orchestra from each instrument section plans and leads
rehearsals for a given piece of music.
To assist in meeting the inevitable challenges posed by its democratic
structure, Orpheus recruited Harvard’s Hackman to its board of trustees, and he
immediately helped the orchestra organize itself around two leadership groups.
An artistic planning group consists of two staff members and three “artistic
directors.” The executive director serves as a sort of moderator for group
discussions, and the general manager keeps everyone posted on market-related
events and initiatives. The three artistic directors, who are members of the
orchestra, work with other members to find out what they’re interested in
working on and to convey their ideas to the planning group. They also serve on
a senior leadership team with the executive director, the general manager, and
the directors of finance, marketing, and operations. This team determines the
best ways to do things given the organization’s commitment to democratic
structure, leadership, and roles—the best way to develop artistic agendas, to
choose players, soloists, and composers and to make the team accountable for
its own artistic decisions.
It’s important to remember, however, that neither the Orpheus Process nor
the
Orpheus
two-team
structure
is
any
guarantee
of
organizational
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